Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/howtomakephotogrOOroch 


< £ 

o % 

f UJ  ,? 

^ Q.  (8 

S5 

oujZ 
£Z  £ 

o < 
tISQ. 


to  W9 

°^.E 

OCL 

fs 

2 s- 

<c2 


HOW 


TO  MAKE 

PHOTOGRAPHS 


A MANUAL  FOR  AMATEURS 


T.  C.  ROCHE 

EDITED  BY 

H.  T.  ANTHONY 


( ILLUSTRATED .) 

NEW  YORK  : 

E.  & H.  T.  ANTHONY  & CO.,  NO.  591  BROADWAY. 


1883. 


COPYRIGHT  ; 


E.  & H.  T.  ANTHONY  & CO. 


591  BROADWAY,  NEW  YORK. 


PREFACE. 


The  instruction  imparted  in  this  little  book  will  be  more 
readily  understood  by  the  general  reader  than  is  usually  the 
case  in  works  of  the  kind.  The  practice  and  formulae  given 
are  the  most  approved,  and  have  all  been  tested  by  ourselves. 

Technicalities  have  been  avoided,  as  far  as  practicable,  and 
the  various  processes  will  be  found  plainly  and  briefly 
stated. 


THE  PUBLISHERS. 


CONTENTS. 


INTRODUCTION. 

Photography  for  the  People  ...  .... 

CHAPTER  I. 

Preliminary  Description  of  Apparatus  and  its  Uses.  General 
Statement  of  Photographic  Practice  ..... 

CHAPTER  II. 

Detailed  Description  of  Apparatus  Necessary  for  the  Making  of 
a Photographic  Negative  ....... 

CHAPTER  III. 

Description  of  Apparatus  Necessary  for  the  Development  of  the 
Negative,  and  its  Uses  ........ 


CHAPTER  IV. 

Development  of  the  Negative  ; the  Ferious  Oxalate  and  Alkaline 
Formuloe;  Intensifiers  ; Retouching  and  Varnishing  the  Nega- 
tive; Reproduced  Negatives  and  Transparencies;  Fogged 
Negatives,  Stained  Films  and  Frilling;  Clearing  Solution; 
Practical  Notes  ......... 


CONTENTS. 


V 


PAGE 

CHAPTER  V. 

The  Paper  Positive  or  Print;  Printing,  Toning,  Trimming, 

Mounting,  etc.  .........  64 

CHAPTER  VI 

Taking  Portraits,  Groups,  Instantaneous  and  Stereoscopic  Pictures  77 
CHAPTER  VII. 

Photo-micrography;  An  Amateur  Kit;  Weights  and  Measures; 

Conversion  of  French  into  English  Weights  ....  81 


>©♦— 


INTRODUCTION. 


T)HOTOGRAPHY  has  at  length  enlisted  that  public  in- 
terest  it  really  deserves,  for  it  is  found  to  be  almost  in- 
dispensable in  all  the  arts  and  professions.  Not  only  so,  but 
the  artist  and  the  artisan,  the  professor  and  the  student,  the 
man  of  letters  or  of  leisure,  the  matron  or  the  maid  may  one 
and  all  derive  infinite  pleasure  as  well  as  profit  from  the  prac- 
tice of  this  fascinating  pursuit. 

Simplified  by  the  introduction  of  the  sensitive  gelatino- 
bromide  dry  plates,  it  is  now  within  the  power  of  any  one  to 
become  proficient  at  little  expenditure  of  time  or  means.  It 
is  alike  adapted  to  old  and  young,  male  and  female ; indeed 
many  ladies  have  already  become  very  expert  and  have  openly 
declared  in  favor  of  it.  The  fact  that  neither  hands  nor  cloth- 
ing need  now  be  soiled,  as  was  so  often  the  case  with  the  old 
“wet”  process,  renders  it  extremely  popular. 

The  burdensome  paraphernalia  of  the  past  has  been  utter- 
ly discarded,  the  only  impedimenta  now  required  being  seen 
in  Fig.  i.  This  is  a very  important  consideration,  especially 
for  outdoor  photography,  when  the  apparatus  must  necessarily 


V 11 


INTRODUCTION. 


be  borne  to  the  spot  where  the  subjects  are.  Fig.  2 represents 
the  amateur  at  work,  with  tripod  set  up,  and  camera  adjusted. 

Fig.  3 similarly  illustrates  a lady  enthusiastically 
endeavoring  to  secure  an  instantaneous  picture 
of  her  pet  poodle. 

This  hand-book  is  published  for  the  purpose 
of  aiding  those  who  have  had  no  previous  expe- 
rience in  photography,  so  that  by  merely  read- 
ing it  the  amateur  may  acquire  all  the  necessary 
knowledge  for  the  use  of  the  apparatus  and  the 
Fig.  1.  management  of  the  various  chemical  and  other 
incidental  manipulations. 

It  is  considered  inexpedient  to  include 
within  the  scope  of  these  pages  the  mode 
of  making  the  gelatino-bromide  plates 
themselves ; but  few  of  those  who  may 
use  them  for  any  purpose  would  care  to 
incur  the  expense  and  trouble  involved  in 
their  preparation.  Dr.  Eder’s  work  on  the 
subject  (costing  $1)  contains  all  the  re-  Fig.  2. 

quisite  instruction,  both  theroretical 
and  practical.  Sensitized  albumen  pa- 
per is  also  prepared  on  a large  scale, 
and  sold  by  all  dealers  in  photograph- 
ic materials ; it  is  therefore  quite  un- 
necessary to  go  into  the  details  of  that 
manufacture.  This  practical  informa- 
tion can  be  found  in  a work  entitled  the  Art  and  Practice  of 
Silver  Printing  (costing  $1)  and  published  by  ourselves.  Cer- 


INTRODUCTION. 


IX 


tainly  no  one  having  once  used  the  sensitized  paper  furnished 
by  our  house  will  ever  undertake  to  provide  it  for  himself. 

But  the  greatest  achievement  of  all,  perhaps,  is  the  prepara- 
tion of  a sensitive  printing  paper  with  gelatino  bromide  of 
silver,  the  same  substance  used  for  the  negatives,  with  which 
any  one  can  instantly  print  without  the  aid  of  the  sun.  This 
will  be  explained  for  the  first  time  farther,  on. 

The  works  above  alluded  to  are  handsomely  bound  in 
cloth.  A cheaper  edition  in  paper  may  be  had,  if  preferred. 

Should  any  one  need  a more  extended  list  of  apparatus 
and  photographic  materials  than  is  herein  contained,  we  shall 
be  pleased  to  mail  a copy  of  our  complete  catalogue. 

E.  & H.  T.  ANTHONY  & CO. 


CHAPTER  I. 


Preliminary. 

TN  setting  out  to  make  photographic  negatives  there  are  va- 
rious  articles  necessary  to  be  procured,  all  of  which  are 
to  be  used  in  a certain  order.  Some  of  these  articles  are  to 
be  employed  in  obtaining  the  action  of  the  desired  object 
upon  the  dry  plate,  and  the  others  are  to  be  used  for  devel- 
oping and  rendering  visible  such  action. 

The  former  are — 

1.  The  dry  plate. 

2.  The  lens,  camera,  and  focussing  cloth. 

3.  The  shield  for  holding  the  plate,  frequently  also  called 
a plate-holder. 

4.  The  camera  stand. 

5.  A room  adapted  for  transferring  the  plates,  so  that  no 
injurious  light  shall  at  any  time  fall  upon  them.  As  an  ad- 
junct to  this  room,  a light. 

6.  A proper  lamp. 

These  being  ail  provided  and  in  readiness,  the  first  thing  to 
do  is  to  place  the  sensitive  plates  in  the  plate-holders,  with- 


PRELIMINARY. 


I I 


in  which  they  can  be  perfectly  shielded  from  the  light.  As 
this  cannot  be  done  in  the  dark,  a suitable  lamp  is  lit  and 


plates,  as  taken  out  of  the  box,  they  will  be  found  to  have  a 
mat  surface  and  a bright  one.  The  mat  surface  is  the  one 
upon  which  the  negative  must  be  made,  and  should  be  placed 
in  the  plate-carrier  so  that  it  faces  outward. 

A plate-holder  or  shield  consists  of  three  distinct  parts,  the 
body  or  frame,  the  two  slides — one  on  each  side  of  the  body 
— and  the  plate-carrier,  which  occupies  the  middle  interior 
space.  The  plate  - carrier 


straps,  dr  loops,  are  turned  into  place.  It  is  unnecessary  to 
withdraw  the  slides  or  shutters  except  when  exposing  the 
plate,  as  hereafter  mentioned. 

After  putting  the  plates  in  the  shields  the  remaining  ones 
should  be  carefully  covered  up  to  protect  them  from  the  light. 


these  are  then  taken 
into  the  dark  room. 
The  package  contain- 
ing the  dry  plates  is 
then  opened  and  a 
plate  slid  into  each  com- 
partment of  the  shields. 
Upon  examining  the 


it  is  pushed  into  the  cen- 
tral interior  space  of  the 
frame  and  the  little  brass 


into  it,  as  above  described, 


holds  two  plates,  and  when 
the  latter  have  been  put 


HOW  TO  MAKE  PHOTOGRAPHS. 


I 2 

These  shields  not  only  serve  to  hold  the  plates,  but  they  are 
arranged  to  fit  on  the  camera  in  a certain  position. 

The  camera,  in  conjunction  with  the  lens,  the  ground  glass 
(on  which  the  focus  is  obtained)  and  focussing  cloth,  is  the 
instrument  by  which  the  image  of  the  object  to  be  taken  is 
conveyed  to  the  sensitive  plate. 

The  lens  is  attached  to  the  front  of  the  camera,  and  has 
upon  it  a little  leather  cap,  and  while  this  cap  is  on  no  light 


CAMERA  AND  LENS  WITH  $10  EQUIPMENT. 


from  the  lens  can  pass  into  the  camera.  To  the  back  of  the 
camera,  which  is  adjustable  as  to  the  distance  from  the  front, 
is  applied  the  ground  glass,  by  means  of  which  the  proper 
position  of  the  sensitive  plate  contained  in  the  shield  is  deter- 
mined. When  thus  fixed  this  focussing  glass  is  removed,  and 
the  shield  is  put  into  its  place,  the  surface  of  the  sensitive 
plate  now  occupying  exactly  the  position  of  the  surface  of  the 
ground  glass  before  its  removal.  At  this  moment  all  is  dark 
inside  of  the  camera,  and  inside  of  the  plate  shield — the  slide 


PRELIMINARY. 


*3 


or  door  of  the  shield  not  being  withdrawn  and  the  leather  cap 
still  covering  the  lens. 

To  make  the  exposure  of  the  plate  first  draw  out  entirely 
the  slide  or  door  of  the  shield  nearest  the  lens,  and  then,  when 
you  have  your  watch  ready  to  indicate  the  number  of  seconds 
to  be  given,  the  leather  cap  is  very  gently  lifted  off  the  light 


CAMERA  AND  LENS  WITH  $12  EQUIPMENT. 


allowed  to  pass  through  to  the  plate  during  the  proper  interval 
of  exposure,  and  the  cap  is  replaced  upon  the  front  of  the 
lens  ; then,  holding  the  slide  exactly  parallel  with  the  shield, 
push  it  entirely  back  into  the  groove. 

This  plate  is  now  ready  for  the  next  operation,  the  develop- 
ment, which  is  done  in  the  dark  room.  As  there  is  another 
plate,  however,  in  the  other  compartment  of  the  shield,  care 
must  be  taken  to  mark  the  one  already  exposed,  so  that  it 
cannot  be  used  a second  time. 

It  remains  now  to  describe  in  detail  the  method  of  applying 
the  camera,  for  the  purpose  of  getting  it  into  position  and  se- 
curing the  image.  As  this  instrument  must  be  supported  at 


14 


HOW  TO  MAKE  PHOTOGRAPHS. 


a height  convenient  for  the  eye  of  the  operator,  a tripod  or 
three-legged  stand  is  provided  for  that  purpose,  the  former 
being  secured  to  it  by  means  of  a screw,  which  passes  through 

the  top  of  the  stand  into 
its  counterpart  in  the 
bottom  of  the  bed.  The 
tripod  is  then  set  by  so 
separating  its  feet  as  to 
bring  the  camera  into  a 
horizontal  position. 

The  subject  must  now 
be  focussed.  It  may  be 
observed  that  in  outfits 
of  the  better  class,  for 
the  purpose  of  portabil- 
ity, a portion  of  the  bed 
of  the  camera  is  folded. 
This  is  brought  down  to 
a horizontal  position  and 
kept  firm  by  means  of  a 
long  screw,  which  passes 
through  the  adjoining  rails  of  the  bed. 

The  adjustable,  rear  part  of  the  camera  carrying  the  ground 
glass  can  now  be  moved,  first  to  a mark  which  indicates 
very  nearly  its  proper  place,  and  there  be  fastened  by  a short 
upright  binding  screw  running  in  a groove  on  the  middle  rail 
of  the  bed.  The  final,  accurate  focussing  must  be  done  by 
throwing  the  black  cloth  over  the  rear  part  of  the  camera, 
thus  shutting  off  all  outside  light  from  the  focussing  glass 


EXPOSURE. 


15 


Now,  by  putting  the  head  under  this  cloth  and  at  the  same 
time  uncapping  the  lens,  any  lack  of  sharpness  in  the  picture 
may  be  seen  and  corrected  by  turning  the  horizontal  adjust- 
ing screw. 

As  soon  as  this  is  accomplished  turn  the  camera  on  its  stand 
until  the  exact  limits  of  the  desired  subject  are  depicted  on 
the  ground  glass,  tighten  the  screw  which  attaches  the  camera 
to  the  top  of  the  stand,  put  the  cap  on  the  lens  and  you  are 
ready  for  applying  the  plate  shield. 

The  lens  is  a part  of  the  apparatus  with  which  the  owner 
has  nothing  to  do  except  to  keep  it  clean,  protecting  it  from 
dust  and  from  being  scratched.  Is  is  provided  with  dia- 
phragms, the  use  of  which  will  be  treated  of  under  the  head 
of  exposure. 

Exposure . 

By  exposure  is  meant  the  interval  between  the  uncapping 
and  recapping  of  the  lens,  as  above  described,  and  during 
which  the  sensitive  surface  of  the  plate  in  the  shield  has  been 
exposed  to  the  action  of  the  light.  This  necessary  act  is  at- 
tended with  more  uncertainty,  and  requires  more  judgment 
and  experience,  than  any  other  in  the  course  of  taking  a neg- 
ative. One  picture  may  be  taken  in  the  fifth  part  of  a second, 
while  another  may  require  an  hour. 

The  exposure  is  controlled  by  two  different  causes,  viz., 
the  strength  of  the  light  and  the  area  of  aperture  in  the  dia- 
phragm used.  These  diaphragms  are  small  plates  of  iron  or 
brass,  all  of  the  same  external  size,  but  having  central  circu- 
lar holes  of  different  sizes.  They  are  usually  contained  in 
a leather  case,  and  fit  in  a slit  in  the  brass  mounting  of  the 


i6 


HOW  TO  MAKE  PHOTOGRAPHS. 


lens,  and  the  quantity  of  light  that  passes  through  in  a given 
time  is  necessarily  dependent  upon  the  area  of  this  • hole  or 
opening.  As  the  effect  upon  the  plate  depends  on  the  quan- 
tity of  light  falling  upon  it  in  a given  time,  the  exposure  must 
therefore  be  much  shorter  when  that  light  is  allowed  to  pass 
through  a large  opening  than  when  it  comes  through  a very 
small  one.  Consequently,  to  obtain  upon  the  plate  with  a 
small  opening  the  same  effect  as  is  produced  in  a given  time 
by  the  larger  one,  the  exposure  with  the  former  opening  must 
be  proportionally  prolonged. 

After  having  ascertained  by  experience  about  the  time  of 
exposure  required  by  any  one  opening  with  a given  lens, 
that  for  any  other  opening  is  a matter  of  calculation,  and 
will  be  shown  hereafter.  As  most  of  the  pictures  will  be  of 
landscapes  (we  will  assume  by  one  of  our  $10  outfits),  a well 
lighted  landscape  taken  with  a diaphragm  having  an  open- 
ing of  one-quarter  of  an  inch  in  diameter  will  require  an 
exposure  of  one  and  a half  to  two  seconds.  This  furnishes  a 
starting-point  for  beginners  to  go  by. 

Plates  that  have  been  exposed  in  the  camera,  but  not  yet 
subjected  to  the  subsequent  operations  of  developing  the 
latent  image  nor  the  final  one  of  fixing  (afterwards  to  be  de- 
scribed), must  be  as  carefully  protected  against  the  action  of 
ordinary  sunlight,  gaslight  or  candlelight,  as  those  that  have 
not. 

By  a well  lighted  landscape  above  is  meant  a sunlit  scene, 
and  the  time  of  exposure  (say)  two  seconds,  is.  sufficient  for 
a one-quarter  inch  diaphragm.  Now  if  we  desire  to  work 
more  quickly  and  use  a one-half  inch  diaphragm,  the  neces- 


THE  DEVELOPMENT. 


*7 


sary  exposure  would  be  in  the  inverse  proportion  of  their 
squares.  As  the  area  of  the  one-half  inch  opening  is  four 
times  that  of  the  one-quarter  inch,  the  exposure  with  the  one- 
quarter  inch  opening  will  be  one-fourth  that  of  the  latter,  or, 
in  other  words,  one-half  of  a second,  and  vice  versa.  As  a de- 
fect in  the  time  of  exposure  may  be  remedied  in  the  develop- 
ment, extreme  accuracy  in  these  calculations  is  not  absolutely 
necessary  ; with  a little  practice  and  judgment  one  will  get 
over  this  difficulty. 

As  the  exposure  depends  upon  the  strength  of  the  light 
piimarily,  it  is  proper  to  mention  in  this  connection  that  the 
strength  of  sunlight  varies  very  much  according  to  the  season 
of  the  year,  being  the  greatest  in  midsummer  and  the  least  in 
midwinter ; and  these  lights  are  occasionally  modified,  in 
summer  by  being  very  much  reduced  by  a yellow  tinge  in 
the  atmosphere,  and  increased  by  a covering  of  light,  fleecy 
clouds,  and  in  winter  it  is  augmented  by  the  presence  of  snow 
on  the  ground. 

The  best  pictures  are  not  produced  by  exposing  during  the 
middle  of  the  day  ; in  the  morning  or  afternoon,  when  the  rays 
of  the  sun  are  more  removed  from  the  perpendicular,  the  most 
pleasing  effects  are  secured. 

The  Development . 

The  exposure  has  no  visible  effect  on  the  negative,  out 
its  action  can  be  rendered  visible  by  the  subsequent  ap- 
plication of  a liquid  called  a developer.  This  brings  us  to 
the  recapitulation  of  the  articles  required  for  that  purpose. 
The  other  articles  have  been  used  in  the  light ; these,  on  the 


1 


i8 


HOW  TO  MAKE  PHOTOGRAPHS. 


other  hand,  must  all  be  used  in  the  dark  room  ; and  it  should 
be  understood  that  the  shields  containing  the  exposed  plates 
must  in  no  case  be  opened  until  they  are  safely  lodged  in  the 
dark  room  for  the  purpose  of  developing. 

The  articles  to  be  provided  are  as  follows: 

1.  Japanned  iron  dishes,  or  other  trays,  according  to  size 
of  plate. 

2.  Glass  graduates. 

3.  Glass  funnels.  > 

4.  Glass  stirring  rods. 

5.  Litmus  paper. 

6.  Filtering*  paper. 

7.  Bottle  for  containing  saturated  solution  of  oxalate  of 
potash. 

8.  Bottle  for  containing  saturated  solution  of  sulphate  of 
iron. 

9 . Bottle  for  containing  solution  of  bromide  of  potassium, 
twelve  grains  to  one  ounce  of  water. 

10.  Bottle  for  containing  saturated  solution  of  common 
alum. 

11.  Bottle  for  containing  solution  of  hyposulphite  of  soda, 
one  ounce  of  hyposulphite  to  eight  ounces  of  water. 

12.  A pair  of  scales  weighing  grains,  and  a larger  one 
for  ounces  and  pounds. 

The  development  is  effected  by  mixing  together  the  oxalate 
of  potash,  the  protosulphate  of  iron  and  the  bromide  solution, 
in  different  proportions.  For  that  purpose  pour  into  one 
graduate  three  fluid  ounces  of  the  oxalate  solution,  and  into 


THE  DEVELOPMENT. 


*9 


another  one  fluid  ounce  of  the  iron  solution,  and  into  another 
two  drams  of  the  bromide  solution.  Place  these  on  a conven- 
ient table  in  the  dark  room.  Into  the  graduate  contain- 
ing the  oxalate  solution  pour  two  drams  of  the  iron  solution, 

and  five  or  ten  drops  of  the  bro- 
mide solution,  and  mix  thor- 
oughly. 

This  constitutes  the  developer . 
The  door  of  the  dark  room  must 
now  be  closed,  and  one  of  the 
japanned  trays  placed  on  the  ta- 
ble. Take  one  of  the  exposed 
piates  out  of  a shield,  place  it 
face  upwards  in  the  tray  and  immediately  pour  the  developer 
all  over  it  rapidly,  so  as  to  avoid  making  any  stains  or  streaks. 
Keep  the  developer  moving  over  the  face  of  the  plate  by  rock- 
ing the  tray. 

In  from  twenty  to  thirty  seconds  (if  the  exposure  has  been 
right)  dark  spots  will  begin  to  appear  on  the  surface.  These 
show  where  the  light  has  acted  most  strongly  on  the  plate,  and 
indicate  what  are  called  the  high  lights  of  the  picture.  By  al- 
lowing the  developer  to  act  longer  the  high  lights  will  become 
barker,  and  the  other  portions  of  the  picture  will  begin  to  show 
themselves  by  a gradual  blackening. 

In  case  this  gradual  action  of  the  developer  appears  to  be 

* 

irrested  and  the  surface  of  the  plate  remains  partly  black  and 
partly  light-colored,  pour  off"  the  developer  into  its  graduate, 
add  to  it  one  more  dram  of  the  iron  solution  and  again  pour 
t upon  the  plafe.  This  will  renew  the  blackening,  and  it 


20 


HOW  TO  MAKE  PHOTOGRAPHS. 


the  exposure  has  been  correct  will  probably  be  sufficient  to 
complete  the  development,  which  is  known  by  seeing  the  black 
veil  just  obscuring  the  parts  that  had  remained  light-colored. 
Now  pour  the  developer  off,  take  the  plate  out  of  the 
tray  and  look  at  the  back  of  it.  If  the  development  can  be 
distinctly  observed  on  the  back  it  may  be  considered  finished. 
The  negative  must  now  be  well  washed  and  then  put  into  the 
fixing  bath. 

This  developer  may  be  used  for  another  plate,  provided  it 
is  employed  immediately.  If  no  other  plate  is  ready  it  can 
be  thrown  away,  unless  it  is  kept  and  again  used  in  the  man- 
ner hereafter  described. 

The  fixing  bath  is  the  solution  of  hyposulphite  of  soda, 
which  is  poured  into  a tray.  The  plate  being  placed  in  it  face 
upwards  is  left,  with  occasional  rocking,  until  all  the  white 
coating  on  it  is  dissolved.  This  is  indicated  when,  by  look- 
ing at  the  back  of  the  plate,  no  trace  of  the  coating  is  seen. 

A very  copious  washing  in  cold  water  must  now  be  given, 
in  order  to  get  rid  of  the  hyposulphite  of  soda.  The  nega- 
tive is  now  finished,  and  can  be  taken  out  into  the  light  and 
put  away  in  any  convenient  place  to  drain  and  dry. 

It  may  as  well  be  observed  here  that  the  gelatine  which 
forms  the  coating  of  the  plate  is  very  soluble  in  warm  water ; 
all  the  solutions  above  mentioned  should  be  cool,  not  over 
60  deg.  Fahr.  In  cold  weather  the  water  used  is  generally 
cold  enough,  but  during  the  summer  it  mu?t  be  artificially 
cooled.  As  an  additional  precaution  in  warm  weather,  the 
plate  after  development  should  be  allowed  to  lie  a few  min- 
utes in  a saturated  solution  of  alum  before*  being  placed  in 


THE  DEVELOPMENT. 


21 


the  fixing  bath.  The  alum  solution  need  not  be  washed 
off. 

The  remarks  in  the  above  paragraph  have  no  reference  to 
Eastman's  “tropical  dry  plates,”  manufactured  for  us, 
that  may  be  submitted  to  solutions  at  any  temperature 
without  injury,  and  used  in  any  climate. 

Having  thus  described  in  the  fewest  words  and  in  the  most 
simple  manner  the  process  of  making  a negative,  the  begin- 
ner's attention  will  now  be  called  to  various  details,  upon  the 
due  understanding  of  which  his  success  as  a proficient  dry 
plate  worker  will  depend. 


CHAPTER  II. 


Photographic  Lenses . 

ENSES  are  made  in  various  styles,  and  combined  in 
numerous  forms  to  produce  different  effects.  In  se- 
lecting these  the  purchaser  should  carefully  examine  the  dif- 
ferent kinds,  and  decide  in  favor  of 
the  one  that  comes  nearest  to  his  (or 
her)  requirements,  for  there  is  no 
single  variety  to  be  had  that  will  an- 
swer absolutely  for  all  purposes  ; in- 
deed it  is  improbable  that  such  will 
no.  i dry  plate  lens,  ever  be  made. 

The  simplest  form  is  what  is  termed  a “single  combina- 
tion. ” It  appears  to  be  but  one  lens  only,  though  in  reality 
it  is  two  sealed  together.  One  is  of  flint  glass,  the  other 
of  crown.  A judicious  or  proper  combination  of  the  two 
“achromatizes”  them.  This  “single  achromatic  lens”  is 
suited  for  general  landscape  work,  but  not  for  architectural 
pictures,  as  it  does  not  yield  rectilinear  lines,  i.  e. , a picture  of 
a house,  where  the  latter  nearly  covers  the  plate,  would  show 


PHOTOGRAPHIC  LENSES, 


23 


the  sides  of  the  building  curved  or  “barrel-shaped;”  on  the 
contrary,  reversing  the  lens  and  using  it  in  that  position  on 
the  same  subject  would  render  the  outlines  “mortar-shaped,” 

i.  e.,  curved  inward  as  they  ap- 
proach the  centre.  Hence,  to 
produce  strictly  rectilinear  pic- 
tures a combination  of  the  two 
above-stated  results  must  be  re- 
sorted to,  giving  what  is  termed 
a “double  achromatic  combi  na- 

• NO  2.  DRY  PLATE  LENS.  tion.  ” 

When  a lens  of  single  combination  is  selected,  to  cover  the 
plate  sharply  a small  opening  or  diaphragm  must  be  usid, 
the  illuminating  principle  of  a lens  being 
the  same  as  that  of  a window,  i.  e.,  the 
larger  the  opening  the  greater  the  quantity 
of  light  admitted.  When  very  rapid  expo- 
sures are  desired,  a lens  must  be  used  that 
needs  no  diaphragms,  and  at  the  same  time 

10  4x5  RAPID  DRY 

covers  the  plate  sharply.  It  requires  a cer-  plate  lens. 

tain  degree  of  light  to  act  suffi- 
ciently on  the  sensitized  plate  to 
produce  the  proper  effects,  and, 
although  this  period  of  exposure  is 
reduced  to  a minimum  by  the  ad- 
vent of  such  quick-working  dry 
4x5  rapid  dry  plate  lens  plates  as  Eastmans  “Special'* 
brand,  with  which  almost  marvellous  results  have  been  obtain- 
ed, the  lens  must  be  chosen  that  will  best  suit  the  operation. 


24 


HOW  TO  MAKE  PHOTOGRAPHS. 


In  enumerating  them,  we  shall  confine  ourselves  to  a few  only 
of  the  different  styles,  those  that  in  our  practical  working  have 
proven  to  be  best  adapted  to  cover  every  want.  These  can 
be  placed  under  three  general  headings,  beginning  with — 

I.  Ordinary  Single  Achromatic  Lenses. 

Suited  for  general  landscape  work  and  buildings,  where  the 
latter  do  not  take  too  prominent  a position  in  the  picture. 
The  wood-cuts  nicely  illustrate  the  appearance  of  the  lenses, 

which  are  made  expressly  for  the 
purpose,  and  are  all  that  could  be 
desired.  In  a good,  bright  sun- 
light, they  will  not  require  more 
than  from  three  to  five  seconds,  to 
admit  of  a full  exposure. 

Anthony’s  No.  i Dry  Plate  Lens 

THE  E.  A.  VIEW  LENS.  ....  . . . 

is  a single  achromatic  combination, 
covering  sharply  a plate  of  4 x 5 inches,  and  furnished  singly 
or  in  matched  pairs  for  stereoscopic  work. 

Anthony’s  No.  2 Dry  Plate  Lens  is  made  in  the  same  style 
as  No.  i,.  but  larger,  covering  a plate  of  5 x 8 inches. 

The  E.  A.  View  Lens  is  a single  achromatic,  with  rack 
and  pinion  for  focussing,  and  extra  diaphragms  in  the  front 
hood. 

II.  Ordinary  Double  Combination  Lenses. 

The  remarkable  “ Platy scope  Lens  ” is  a double  achromatic 
combination  for  making  architectural,  indoor,  instantaneous 
views,  groups,  and,  in  fact,  any  style  of  view  from  ordinary  dis- 


PHOTOGRAPHIC  LENSES. 


25 


tances.  Each  lens  has  a complete  set  of  diaphragms  in  a 
leather  case.  (See  wood-cut  below. ) 

. Anthony’s  4x5  Rapid  Dry  Plate  Lens,  has  a double  ach- 
romatic combination  for  making  instantaneous  views  and  por- 


traits, groups,  etc.  The  lens  ts  £fcu§sefl  with  the  full  open- 
ing, the  flange  being  removable  for  the  insertion  of  the 
diaphragm.  (There  is  no  other  size  of  this  style.) 

Ill • Dallmeyer’ s Combination  Lenses • 

These  celebrated  lenses  are  made  by  the  most  eminent  op- 
tician in  the  world,  and  have  proved  to  be  without  equals. 
They  cost  correspondingly,  but  to  any  one  desirous  of  pro- 
ducing the  finest  results,  that  are  only  attainable  by  using  the 
very  best  of  instruments,  the  quality  of  the  lens  should  be  a 
matter  of  serious  consideration. 

The  fact  that  they  are  in  daily  use  by  almost  every  profes- 
sional photographer  throughout  the  globe  who  claims  to  pro- 
duce good  work  should  be  sufficient  proof  that  their  merits 
are  not  overrated.  We  shall  not  speak  of  the  long  line  of 
single  and  double  achromatic  combinations,  but  merely  of 


26 


HOW  TO  MAKE  PHOTOGRAPHS. 


two  of  them,  that  will  be  found  excellent  and  ample  for  any 
work  the  amateur  may  wish  to  perform.  They  are  both 
known  as  Rectilinear  lenses,  and  give  mathematically  correct 
lines  over  the  entire  plate. 

The  Dallmeyer  Rapid  Rectilinear  lens  is 
suited  for  instantaneous  views,  architectural 
subjects,  portraits,  groups,  copies  of  maps, 
drawings,  dimly  lighted  interiors,  etc.,  etc., 
covering  the  plate  more  sharply  and  working 
more  quickly  than  any  other  lens  known. 
Each  one  has  a full  set  of  Waterhouse  diaphragms  in  mo- 
rocco case. 

Dallmeyer’s  Wide  Angle  Rectilinear  lens  embraces  an 
exceedingly  wide  angle,  and  is  indispensable  for  pictures 
of  buildings,  rooms,  etc.,  where  but  a very 
short  distance  from  the  object  can  be  ob- 
tained. As  only  small  diaphragms  can  be 
used,  the  latter  are  all  made  on  a circular 
revolving  plate.  This  lens  can  also  be  used 
for  landscapes,  by  removing  the  rear  lens 
and  using  the  front  combination  alone . When  thus  employed, 
the  field  will  be  similar  to  that  of  an  ordinary  landscape  lens 
of  the  same  focus. 

With  one  each  of  the  “ Rapid  ” and  “Wide  Angle”  Dall- 
meyer Rectilinear  lenses,  the  amateur  or  artist  can  feel  fully 
equipped  for  any  views  he  may  wish  to  photograph  of  still 
or  active  life.  Practically,  he  will  be  possessed  of  three  of 
the  most  useful  lenses  for  general  photography  ever  made. 


rfNTNON'f 


CAMERAS. 


27 


Care  of  Lenses, 

When  not  in  use  the  lens  should  always  be  kept  covered 
with  its  cap.  If  dusty,  clean  the  giass  with  some  old,  soft 
linen  or  chamois  leather,  but  never  with  cotton  or  silk.  Igno- 
rance of  this  fact  has  often  ruined  many  a fine  lens.  The 
flange  or  collar  of  the  lens  tube  is  fastened  to  the  front  part, 
or  the  front  board  of  the  camera,  and  the  tube  containing  the 
lens  either  slides  or  screws  into  this  collar.  It  is  generally  re- 
moved when  the  camera  is  packed  up,  rolled  in  tissue  paper, 
and,  if  small,  placed  inside  the  body  of  the  camera  for  safe 
keeping  and  carriage. 

Cameras, 

The  camera,  we  have  s.en,  is  so  arranged  as  to  exclude  all 
rays  of  light  from  falling  upon  the  sensitized  plate,  except 


CAMERA  AND  LENS  WITH  NO.  5 EQUIPMENT. 


those  that  come  through  the  lens.  The  nearer  we  approach 
the  object  to  be  photographed,  the  greater  must  be  the  dis- 
tance between  the  lens  and  the  sensitized  plate ; and  to  be 
able  to  effect  this  it  is  made  in  two  parts,  the  front  one  being 
attached  solidly  to  the  bed,  and  the  rear  part  admitting  of 


28 


HOW  TO  MAKE  PHOTOGRAPHS. 


being  moved  closer  to  or  farther  from  the  front,  as  required. 
The  wood  to  which  the  lens  is  attached  is  sometimes  solid, 
i.  e. , an  integral  part  of  the  camera,  or  the  lens  may  be  fasten- 
ed to  what  is  termed  a “front  board,”  which  fits  in  an  open- 
ing cut  to  receive  it.  By  this  latter  arrangement  lenses  of 
different  foci,  mounted  on  interchangeable  panels,  may  be 
used  as  necessary  to  obtain  the  desired  result.  The  rear  part 
of  the  camera  is  held  in  position  by  a milled-headed  nut,  (or 
focussing  screw).  Between  front  and  rear  is  placed  a bellows, 
made  either  of  linen,  rubber  cloth  or  leather,  which  allows  the 
rear  part  to  be  moved  forward  and  back  readily.  The  ground 
glass  at  the  back  rests  on  dowel  pins,  and  is  held  in  position 
at  the  top  by  a hook.  In  our  Novel  Camera,  the  ground 
glass  frame  is  made  smaller  than  the  camera,  and  is  held 
against  it  by  hooks  catching  on  pins  inserted  in  the  frame. 

Folding  Bed. 

Some  cameras  (especially  our  Nos.  4,  5,  6,  7 and  8,)  are 
made  with  what  are  termed  folding  beds.  The  bed  is  then 
made  in  two  parts  hinged  together,  and  when  packed  for 
transportation  the  projecting  pad:  is  folded  up  against  the 
ground  glass,  serving  as  a protection  to  it,  and  admitting  of  a 
large  camera  being  packed  in  small  compass.  When  in  use, 
a screw  fastens  these  by  bolting  the  two  sections  of  the  bed 
together  ; when  not  in  use  the  screw  is  carried  in  one  of  the 
cross  rails. 

Focussing  Screw  and  Back. 

This  is  an  arrangement  for  focussing  the  camera  and  hold- 
ing it  in  position.  The  button  or  milled-headed  nut,  as  on 


RISING  FRONT. 


29 


our  No.  1,  2 and  3 cameras  are  thereby  dispensed  with.  The 
focussing  screw  is  placed  in  the  slot  in  the  centre  rail  of  the 
bed,  and  the  body  of  it  is  held  at  any  desired  point  by  a bolt 
which  passes  through  it,  the  head  of  the  bolt  running  in  the 
transverse  slot ; a round  nut  on  the  bolt  holds  it  firmly  to  the 
bed.  The  screw-  is  placed  on  the  front  of  this  body,  between 
its  shoulders,  a groove  being  turned  in  it  to  fit  these, 
and  the  thread  of  the  screw  is  inserted  in  a plate  attached  to 
the  rear  or  sliding  part  of  the  camera.  By  turning  this  about 
half  way  in,  unfastening  the  bolt,  and  grasping  the  body  of 
the  focussing  screw  with  the  fingers,  the  rear  part  of  the  cam- 
era is  moved  until  very  nearly  the  proper  focus  is  obtained. 
Then  fasten  the  body  firmly,  and,  by  turning  the  focussing 
screw  by  its  milled  head,  the  focus  can  be  adjusted  very  finely. 
Great  attention  must  be  paid  to  this,  and  it  should  be  done 
slowly,  for  on  it  will  depend  much  of  one’s  success.  A pic- 
ture out  of  focus  looks  misty  and  blurred. 

If  a camera  with  focussing  rack  and  folding  bed  be  used, 
and  it  is  desired  to  pack  up  before  removing  the  screw  or  bolt 
that  holds  the  bed  straight,  see  that  the  rack  be  run  in  as 
far  as  possible,  and  does  not  project  over  the  joint  in  the 
bed.  Want  of  this  precaution  has  often  bent  and  ruined  the 
focussing  screw. 


Rising  Front . 

Our  Nos.  4,  5 and  6 cameras  have  what  is  called  a “rising 
front.  ” This  is  an  extra  front  to  the  entire  face  of  the  camera, 
and  admits  of  raising  or  lowering  the  lens.  Should  you  be  on 
a hill  and  wish  to  make  a view  of  the  valley  before  you,  it 


3° 


HOW  TO  MAKE  PHOTOGRAPHS. 


would  appear  on  the  ground  glass  to  be  nearly  all  sky.  To 
take  in  more  of  the  scene  lower  the  lens,  without  tilting  the 


CAMERA  AND  LENS  WITH  NO.  6 EQUIPMENT. 


camera,  which  must  be  kept  as  nearly  horizontal  as  possible. 
By  means  of  a sliding  front  you  can  thus  lower  the  lens  to 
include  the  desired  view.  If  in  a valley,  desiring  to  photo- 
graph the  surrounding  hills,  you  should  raise  the  front  cor- 
respondingly. 


Kovel  Cameras . 

These  differ  widely  from  any  other  produced  in  our  market, 
and  possess  qualities  that  render  them  superior  to  all  others. 
The  body  of  the  camera  can  readily  be  detached  from  the  bed 
(the -latter  remaining  on  the  tripod)  and  replaced  in  either 
position,  so  as  to  present  the  plate  either  vertically  or  horizon- 
tally. The  method  employed  to  produce  this  result  will 
be  found  very  satisfactory. 

The  5 x 8,  6^  x 8^  and  8 x io  include  the  partition  and 
an  extra  front  board  for  stereoscopic  views. 


NOVEL  CAMERAS. 


31 

The  rear  may  be  moved  forward  or  backward  in  the  same 
wav  as  with  the  ordinary  camera,  so  that  all  parts  of  the  sub- 


ject may  be  dearly  defined  on  the  ground  glass,  the  sharp- 
ness or  delineation  of  it  depending  entirely  on  the  degree 


of  accuracy  with  which  the  focus  has  been  obtained.  Should 
you  wish  to  include  more  of  the  view  in  the  picture  than  is 


32 


HOW  TO  MAKE  PHOTOGRAPHS. 


shown  on  the  ground  glass,  move  the  instrument  further 
away  and  focus  again,  until  you  obtain  the  desired  result. 
The  ground  side  of  the  focussing  glass  should  always  face 
inward. 

Plate- Holders  or  Shields . 

Our  new,  patented  shield  or  plate-holder,  styled  the  “ per- 
fect, ” differs  from  any  other  in  the  manner  of  inserting  the 
plates  and  securing  them  in  position. 

This  shield  is  described  on  page  n.  In  addition  to  the 
metallic  loops  which  secure  the  plate-carrier  within  the  shield, 
the  slides  are  prevented  from  being  accidentally  opened  by 
means  of  a spring  and  catch,  which  work  automatically. 
When  the  plates  have  been  slid  into  place  in  the  carrier  they 


should  be  cleansed  from  dust  with  a camebs-hair  brush,  as 
above,  which  is  called  a blender. 

One  great  advantage  of  our  patent  shield  is  that  it  can  be 
used  for  exposing  plates  of  various  sizes,  as  kits  or  inner 
frames  of  smaller  size  holding  such  plates  can  be  slipped  into 
the  grooves.  Thus  an  8 x io  shield  can  be  used  for  any 
of  the  following  plates  (say)  6^  x 8^,  5 x 8,  5x7,  4x5, 
etc.,  as  desired.  We  keep  a line  of  these  kits  in  stock  of  all 
the  usual  sizes. 


FOCUSSING  CLOTH. 


33 


Tripods . 

The  tops  of  the  tripods,  whether  triangular  or  round,  all  have 
pins  or  projections  on  which  the  sockets  in  the  top  of  the  legs 
^3  rest,  when  the  latter  are  unfolded  and  the 
~ apparatus  set  up.  Figures  2 and  3 on  page 
8 show  the  position  of  the  camera  and  tri- 
pod ready  for  focussing.  A brass  screw,  that 
passes  through  the  top  from  beneath  and  enters  a plate 
in  the  bottom  of  the  camera  bed,  securely  holds  the 
camera  to  the  tripod,  as  previously  stated. 

It  is  often  the  case  that  the  view  most  desired  must 
be  made  from  a position  where  the  grou'nd  is  very  un- 
even. As  it  has  been  found  almost  im- 
possible, in  some  instances,  to  set  the 
IP  camera  level,  we  have  introduced  what 
is  called  the  telescopic  tripod,  any  or 
all  of  the  legs  of  which  can  be  length- 
ened or  shortened  at  pleasure,  thus  rendering  it  possi- 
ble to  make  many  views  that  otherwise  would  be 
very  difficult  to  obtain. 


Focussing  Cloth . 

To  clearly  discern  the  image  on  the  ground  glass,  the  head 
and  rear  part  of  the  camera  should  be  covered  with  an  opaque 
piece  of  cloth  or  dark  velvet ; about  2x3  feet  is  a very  good 
size.  This  is  used  only  when  focussing,  and  screens  the  light 
between  the  vision  and  the  ground  glass,  enabling  one  to  see 
clearly  that  the  focus  is  correctly  drawn . This  may  be  made 


34 


HOW  TO  MAKE  PHOTOGRAPHS. 


purposely,  or  improvised  in  case  of  necessity  from  a garment. 
A piece  of  ordinary  black  muslin  will  suffice,  if  nothing  else 
is  convenient,  or  a cardboard  hood,  to  fold  flat  against  the 
camera,  may  be  substituted. 

Focussing  Lens. 

Another  very  convenient  and,  in  some  cases,  necessary  arti- 
cle  for  the  amateur  is  a focussing  lens.  With  this  little  in- 
strument (which,  by  the  way,  may  be  easily 
carried  in  the  pocket)  one  is  enabled  to  see 
with  far  more  clearness  when  the  lesser  ob- 
jects in  the  picture  are  depicted  distinctly  on 
the  ground  glass.  The  lens  is  adjustable, 
so  as  to  accommodate  the  vision  of  different 
persons,  and  is  always  held  parallel  to  the  ground  glass  by 
its  three  standards  or  feet.  Necessarily,  when  once  adjusted 
for  a particular  individual,  the  focus  need  not  again  be 
changed. 


CHAPTER  III. 


TN  the  preceding  chapter  we  have  illustrated  and  described 
only  the  apparatus  essential  for  the  single  act  of  procur- 
ing the  latent  image  on  the  sensitive  plate.  The  present  one 
will  include  those  articles  provided  for  tie  development  of 
that  image,  or  impression,  and  others  incidentally  useful  in 
the  subsequent  operations  at  home. 

On  a previous  page,  under  the  head  of  The  Development , 
the  following  are  enumerated  : 

Japanned  Iron  Dishes  or  Trays . 

These  are  specially  made  for  the  purpose,  of  good  strong 
sheet  iron,  afterwards  covered  with  a coating  of  black  japan 

varnish.  They  cm  be  had 
in  sizes  adapted  to  all  the 
different  dimensions  of  dry 
plates  manufactured ; are 
quite  inexpensive,  and  at  the  same  time  very  strong.  The 
glass  and  porcelain  vessels  formerly  used  were  much  more 


36 


HOW  TO  MAKE  PHOTOGRAPHS. 


costly  and  exceedingly  fragile.  Occasionally,  however,  from 
inattention  or  frequent  use  they  become  oxidized,  and  there- 
fore more  or  less  unsightly  and  unserviceable.  To  correct 
this  we  prepare  an  excellent  black  varnish,  which  may  be  ap- 
plied, after  removing  the  loose  scales  or  rust  and  cleansing, 
by  flowing  it  on  and  pouring  off  the  excess,  or  by  means  of 
a brush.  The  tray  should  be  warmed  before  the  application 
and  afterwards  dried  at  a temperature  of  about  120  deg. 
Fahrenheit. 

Glass  Graduaies . 

These  may  be  had  in  many  sizes,  from  a minim  to  a quart. 
They  are  not  only  useful  i n 
measuring  solutions,  but  are 
found  convenient  in  developing 
the  negatives,  having  lips  which 
facilitate  the  act  of  pouring. 

Three  or  four  of  varying  capa- 
city, according  to  the  dimeh- 
sion  of  the  plate  in  hand,  will 
be  sufficient.  The  annexed 
wood-cut  represents  a superior 
one  we  have  lately  introduced, 
in  which  the  divisions  are 
moulded  in  the  glass,  and  are 
therefore  much  more  accurate 
and  reliable  than  those  ordi- 
narily furnished.  Due  care  must  always  be  given  to  clean- 
liness. Before  use,  wash  and  rinse  thoroughly. 


anthon\7s  developing  bottle. 


37 


Combined  Funnel  and  Filter . 

Like  the  foregoing,  these  are  made  in  several  sizes. 
The  Combined  Funnel  and  Filter,  can  be  had  in  pints 
quarts  or  half  gallons,  and  is  of  greatly  improved  form,  the  bulb 
admitting  the  pledget  of  prepared  cotton  through  which 

the  solutions  percolate 
freely,  unlike  the  ordinary 
funnel,  wherein  the  cotton 
is  apt  to  be  compressed 
too  tightly.  The  prices 
are  not  excessive. 

Glass  Funnels  and 
Graduates . 

The  ordinary  glass  fun- 
nel without  bulb,  and  the 
plain  blown  glass  gradu- 
ates may  also  serve.  They 
possess,  at  least,  the  merit 
of  cheapness ; are  easily 
kept  clean  and  free  from  chemical  contamination. 

Anthony’s  Developing  Bottle. 

The  object  in  devising  this  vessel  may  be  stated  in  a single 
word — economy.  Formerly  the  developing  solution,  from  the 

fact  of  its  deterioration  when  exposed  to  the  atmosphere,  was 
always  made  afresh,  resulting  in  no  inconsiderable  loss.  It 


HOW  TO  MAKE  PHOTOGRAPHS. 


will  be  seen  that  the  bottle — an  ordinary  narrow- mouthed 
one — is  perforated  near  the  base  and  a piece  of  rubber  tubing 
inserted,  the  opposite  end  of  which  passes  through  the  cork. 

Now  after  the  developer  is  poured 
into  the  bottle  a small  quantity  of 
oil  may  be  added,  which,  being 
lighter  than  the  solution,  will  rise  to 
the  top,  thus  protecting  it  from  the 
action  of  the  atmosphere.  The 
tubing,  of  course,  admits  of  draw- 
ing off  the  developer  from  the  bot- 
tom. After  use,  the  solution  can  be  returned  to  the  bottle 
by  way  of  the  mouth  ; the  oil  will  always  rise  to  the  surface, 
nd  exert  no  injurious  chemical  action. 


Negative  or  Drying  Rack. 

This  little  rack  or  stand,  which  folds  compactly  if  so  de- 
sired, although  not  actually  indispensable  in  the  dark  room, 
will  prove  quite  service- 
able whenever  a number 
of  negatives  are  to  be  de- 
velopt  d.  A reference  to 
the  wood-cut  will  clearly 
suggest  its  construction 
and  its  use.  The  cor- 
rugations safely  separate 
the  plates  in  the  act  of 

drying,  and  receive  them  until  they  are  stored  away  in — 


DARK  ROOM  AND  LAMP. 


39 


The  Negative  Box . 

This  also  explains  itself.  The  inside,  it  will  be  seen,  is 
provided  with  grooves,  into  which  the  negatives  may  slide. 

In  some  the  plates  lie  lengthwise, 
in  others  across  the  box.  Its  cor- 
ners are  nicely  rounded  and  the 
outside  varnished.  The  smaller 
sizes  usually  hold  twenty-four  neg- 
atives. Stout  brown  paper  envel- 
opes, known  as  negative  preserv- 
ers, are  also  obtainable,  on  which 
are  printed  a form  to  record  the 
No.,  subject  or  remarks.  When 
the  latter  are  used  the  box  may  be  dispensed  with,  and  the 
negatives  laid  on  end  or  piled  one  above  another  on  an  or- 
dinary shelf.  If  neither  are  at  hand,  simply  wrapping  them 
separately  in  paper  will  be  a protection. 

Bark  Boom  and  Lamp . 

By  a dark  room  is  meant  an  apartment  into  which,  when  the 
door  is  shut,  not  a ray  of  light  penetrates  either  by  crevice 
or  entrance.  To  test  the  room  go  into  it,  shut  the  door  and 
remain  a quarter  of  an  hour.  If  at  the  expiration  of  that  time 
no  trace  of  outside  light  can  be  seen,  the  room  may  be  consid- 
ered all  right.  If  an  opening  admitting  light  is  found,  it 
must  be  effectually  stopped  by  any  convenient  method.  The 
dark  room  must  necessarily  be  supplied  with  water  and  suffi- 
cient shelving. 


40 


HOW  TO  MAKE  PHOTOGRAPHS. 


Working  entirely  by  night  will  render  a specially  arranged 
dark  room  unnecessary,  but  in  ejthcr  case  a proper  light 
will  be  required. 

As  certain  colors  have  the  quality  of  more  or 
less  absorbing  the  photographically  active  com- 
ponents of  ordinary  white  light,  whether  that 
of  day  or  that  produced  by  combustion,  and 
as  a dark  ruby  had  been  found  veiy  efficient, 
ruby  globes  or  chimneys  for  lamps  or  gas  jets 
are  provided,  which  afford  sufficient  light  to 
see  by  without  danger  to  the  plates  exposed 
to  it. 

In  these  lamps  it  will  be  seen  that  both  the 
gas  burner,  upward  and  downward  radiations  from  the  yel- 
low flame  are  intercepted.  The 
chimneys  are  made  of  what  is 
technically  known  as  copper-flash- 
ed glass,  which  is  the  only  one 
that  may  be  relied  on. 

Ruby  sheet  glass  and  non-ac- 
tinic  paper  can  be  procured  to 
modify  the  light  in  rooms  lit  from 
the  outside. 

Anthony’s  Perfect  Dry 
Plate  Lantern . 

Amateur  photographers  have 
frequently  expressed  a desire  for 
a compact,  safe,  and  simply  constructed  lantern  for  drv  plate 


GARBUTT S DRY  PLATE  LANTERN. 


4 


work.  This  one  fulfills  all  of  these  conditions,  being  not 
only  as  convenient  and  compact  as  that  above  described, 

but  possessing  the  additional  ad- 
vantage of  almost  perfect  immu- 
nity from  breakage  of  chim- 
ney, and  consequent  protection 
against  fire. 

Each  of  its  parts,  it  will  be 
seen,  are  separable,  and  all  are 
quickly  and  easily  adjusted. 
There  are  no  hinges  to  become 
dislocated  nor  wire  armholes  to 
break.  It  is  easily  lighted  and 
extinguished  ; the  chimney  will  never  crack ; it  requires  but 
little  care  to  keep  clean  ; it  can  never  get  out  of  order ; it 
takes  but  little  oil  and  affords  a good  light. 

Carbutt’s  Multum,  in  JParvo  Dry 
JPlate  Lantern . 

An  excellent  substitute  for  the  above,  though  more  costly,  is 
Carbutt’s  Multum  in  Parvo  Lantern.  The  following  are  some 
of  the  advantages  claimed  for  it : It  saves  your  eyesight. 

It  is  simple  and  easy  to  manage  ; nothing  complicated, 
yet  has  three  separate  and  distinct  forms  of  light.  It  is  adapt- 
ed for  the  use  of  either  oil  or  gas ; is  about  nine  inches 
square  by  fourteen  high,  with  eight  by  ten  deep  ruby  glass 
in  front.  Each  lantern  is  provided  with  a coal  oil  lamp, 
with  improved  patent  burner,  and  silvered  reflector,  which 


42 


HOW  TO  MAKE  PHOTOGRAPHS. 


may  be  revolved  in  any  direction  and  operated  from  the  out- 
side. By  removing  the  revolving  lamp  bed,  a hole  will  be 
found  through  which  a gas  burner  can  be  introduced. 

It  can  be  used  for  seven  or  more  different  operations  in 
photography,  several  of  which  have  never  been  combined  in 
any  one  lantern,  to  wit : 


Lantern  arranged  for  making  positives 
by  contact. 


1.  A safe  light  for  the  preparation  of  gelatino- bromide 
emulsion. 

2.  A safe  light  for  the  coating  of  gelatino-bromide  plates. 

3.  A safe  light  for  developing  the  most  sensitive  plates ; 
while  for  preparing  developer  or  doing  other  work  the  room 
can  be  instantly  flooded  with  white  light,  and  as  quickly 
changed  to  the  red,  giving’  abundance  of  light  by  which  to 
develope  the  largest  sized  plates  used.  The  adjustable  hood 
effectually  shields  the  eyes  from  the  glare  of  the  red  light,  a 
matter  of  the  greatest  importance  to  those  having  a large 


CARBUTTS  DRY  PLATE  LANTERN. 


43 


number  of  negatives  to  develope,  or  other  work  to  perform 
necessitating  red  light. 

4.  An  opal  light  by  which  to  examine  negatives  or  posi- 
tives after  fixing,  enabling  the  operator  to  judge  of  their 
quality,  thereby  avoiding  the  necessity  of  leaving  the  dark 
room  in  search  of  white  light. 

5.  A clear  transparent  light  for  making  positives  on  glass 


Lantern  arranged  for  developing,  and  after  fixing, 
examining  negatives  by  opal  light. 

(gelatino-bromide) ; this  feature  is  a valuable  one  ; any  one 
can  materially  add  to  his  pleasure  by  making  these  most 
j beautiful  products  of  photography. 

6.  The  making  of  enlarged  negatives  from  gelatine  posi- 
tives, placed  in  front  of  the  opal  light. 

7.  The  making  of  photo-micrographs  with  the  clear,  trans- 
, parent  light,  which  can  readily  be  accomplished  with  the 

gelatino-bromide  plate  and  the  microscope. 


44 


HOW  TO  MAKE  PHOTOGRAPHS. 


8.  By  the  adjustment  of  condensers  and  holder  for  slides 
and  objective  in  front  of  the  clear  light,  a very  effective  magic 
lantern  is  formed. 

Anthony’s  Dry  Plate  Safety  Box . 

In  outward  appearance  this  resembles  an  ordinary  nega- 
tive box,  though  not  so  deep  ; but  within,  instead  of  grooves, 
it  has  a close-fitting  cover  lined  with  black  velvet,  so  as  to 
guard  the  plates  against  any  possible  intrusion  of  light.  These 
of  any  size  up  to  8 x io  may  be  removed  from  the  original 
packages,  and  safely  kept  in  this  box  until  transferred  to 
the  plate-holder. 

Plates . 

Throughout  this  essay  when  plates  are  mentioned  it  must  be 
understood  that  the  Eastman  plates,  sold  by  E.  & H.  T.  An- 
thony & Co.  and  their  customers,  are  alone  referred  to.  There 
are  different  brands  of  these,  viz.,  the  “Special/’  which  are  es- 
pecially useful  for  portraiture,  instantaneous  views,  and  dimly 
lighted  interiors;  the  “ Rapid  ” and  “ Instantaneous,  ” which 
are  useful  for  landscapes,  copying,  taking  negatives  of  ma- 
chinery and  all  still  life  subjects,  and  the  “ Tropical,”  which 
can  be  developed  with  water  at  any  temperature,  and  therefore 
are  peculiarly  adapted  for  general  use  in  hot  weather  and 
climates.  Memorandum  : in  handling  plates  always  take  them 
by  the  edges,  and  do  not  allow  the  fingers  to  touch  the  sensi- 
tive surface.  As  a general  rule  do  not  allow  any  object  to  come 
in  contact  with  it,  as  mere  pressure  produces  an  effect  which 
is  brought  out  by  the  developer  and  may  injuriously  affect  the 


PLATES. 


45 


negatives.  After  a box  of  plates  has  been  opened,  and  for 
the  purpose  of  avoiding  the  inconvenience  of  again  wrapping 
them  in  the  papers  in  which  they  were  packed,  those  not 
placed  in  the  shields  may  be  kept  in  the  light-tight  ‘‘Safety” 
boxes,  as  above,  which  are  made  expressly  for  the  purpose 


CHAPTER  IV. 


Details  of  Development. 


TTfE  have  already  said  that  the  defects  of  exposure  may 
" V be  remedied  by  the  treatment  of  the  plate  in  devel- 
opment. We  do  not  mean  to  say  that  a very  great  under-ex- 
posure or  over-exposure  can  be  remedied,  but  a moderate  de- 
fect one  way  or  the  other  may  be.  In  giving  the  formula  for 
the  developer  we  measure  out  three  ounces  of  the  solution  of 
oxalate,  one  ounce  of  the  iron,  and  five  to  ten  drops  of  the 
bromide.  It  is  the  province  of  the  oxalate  solution  to  com- 
bine with  the  iron  of  the  iron  solution,  forming  the  ferrous 
oxalate,  which  is  the  active  developing  material ; and  it  is  the 
province  of  the  bromide  solution  to  restrain  the  action  of  the 
ferrous  oxalate  upon  the  sensitive  surface. 

The  formula  for  mixing  the  developer  previously  given  is 
that  which  has  been  found  best  adapted  for  a properly  exposed 
plate,  but  a much  under-exposed  plate  could  not  be  developed 
with  the  quantity  of  the  iron  solution  used  in  that  instance. 
So  long  as  the  negative  shows  light-colored  portions  that  fail  to 
become  covered  with  the  dark  veil,  which  properly  should  be 
seen  on  the  entire  surface  of  the  plate  before  the  negative  can 


DETAILS  OF  DEVELOPMENT. 


47 


be  considered  thoroughly  developed,  so  long  must  the  iron 
solution  continue  to  be  added  to  the  developer.  In  some 
instances  it  may  be  necessary  to  add  all  of  the  iron  solution 
at  first  poured  out. 

In  case  the  plate  after  using  this  full  strength  of  the  de- 
veloper still  lacks  its  proper  character,  it  will  be  of  no  use 
to  add  any  more  of  the  iron  solution,  as  it  is  now  saturated, 
and  the  addition  of  the  least  particle  more  of  it  will  cause  a 
decomposition  of  the  developer — a precipitate  of  a yellowish 
color  being  produced,  which  sticks  to  the  surface  of  the  plate 
like  sand — and  the  solution  will  at  once  cease  to  act  as  a de- 
veloper. It  will,  in  fact,  begin  to  react,  and  will  soon  redis- 
solve the  image  which  had  already  been  developed.  This  fact 
shows  the  importance  of  using  the  oxalate  solution  absolutely 
saturated,  because,  in  case  of  the  necessity  at  any  time  of  using 
a large  proportion  of  the  iron  solution,  the  iron  might  be  add- 
ed in  excess  before  the  original  ounce  poured  out  was  entirely 
used,  and  thus  the  developer  be  spoiled. 

A saturated  solution  of  any  salt  is  obtained  when  more  of  the 
soluble  salt  is  placed  in  the  water  than  will  dissolve,  in  which 
case  the  excess  will  remain  lying  undissolved  on  the  bottom  of 
the  vessel.  If  the  water  be  warmed  slightly  a saturated  solu- 
tion can  be  more  readily  and  surely  made.  Having  found  this 
plate  under-exposed,  and  you  have  others  which  may  be  also, 
proceed  otherwise.  We  have  said  that  the  bromide  is  a re- 
strainer of  the  action  of  the  oxalate  of  iron  ; and,  as  there  was 
some  of  the  bromide  solution  used  in  that  developer,  try 
the  next  plate  without  any  bromide  at  all,  using  merely  the 
oxalate  ol  potash  and  the  two  drams  of  iron. 


48 


HOW  TO  MAKE  PHOTOGRAPHS. 


If  the  development  proceeds  gradually,  as  it  ought  to  do,  all 
very  well  ; but  if  upon  the  addition  of  more  of  the  iron,  as 
may  become  necessary,  the  picture  seems  to  develope  and 
become  black  too  quickly,  pour  off  the  developer,  add  a few 
drops  of  the  bromide,  which  will  restrain  the  action  of  the 
developer  and  continue  the  development,  and  so  on  to  the 
end. 

It  will  be  seen  from  the  above  that  by  the  skillful  use  of  the 
developer  defects  in  exposure  may  be  remedied.  In  some 
cases  it  may  not  be  necessary  to  use  the  bromide  at  all,  as,  for 
instance,  of  instantaneous  exposures,  where  the  action  of  the 
light  has  been  so  short  that  the  full  strength  of  the  developer  is 
required.  It  may  be  here  observed  that  the  oxalate  develop- 
er, after  being  once  used,  can  be  kept  in  one  of  Anthony’s  De- 
veloping Bottles  and  utilized  repeatedly.  Instructions  for  the 
use  of  the  bottle  have  already  been  given. 

Before  using  the  oxalate  of  potash  solution,  it  must  be 
tested  with  the  blue  litmus  paper.  If  the  paper  turns  slightly 
red,  it  shows  that  the  solution  is  somewhat  acid,  which  it  prop- 
erly should  be.  If,  however,  the  paper  remains  blue,  it  is  evi- 
dent that  the  solution  is  either  neutral  or  alkaline  ; in  that 
case  sufficient  of  a solution  of  oxalic  acid  should  be  added 
to  cause  the  litmus  paper  to  turn  slightly  red.  If  too  much 
oxalic  acid  be  added  it  is  prejudicial,  for  it  delays  the  action  of 
the  developer  and  tends  to  make  hard  negatives..  In  pre- 
paring the  saturated  solution  of  Anthony’s  pure  protosulphate 
of  iron,  it  is  necessary  t3  add  to  it  one  drop  of  pure  sulphuric 
acid  to  each  fluid  ounce,  immediately  after  it  is  made. 

As  may  have  been  inferred  from  what  has  gone  before,  all 


DETAILS  OF  DEVELOPMENT. 


49 


negatives  are  not  alike,  and  while  three  persons  may  each 
take  one  of  the  same  view  at  the  same  time,  all  may  be  dif- 
ferent, yet  each  negative  may  produce  a satisfactory  print, 
although  one  may  be  better  than  the  two  others. 

These  differences  may  be  caused  by  variations  in  the  ex- 
posure and  in  the  degree  to  which  the  development  has  been 
carried.  A negative  is,  in  other  words,  an  opposite  of  the 
scene  depicted  as  regards  light,  the  high  lights  of  the  natural 
scene  being  represented  by  black  in  the  negative  and  the 
shades  by  more  or  less  transparence  to  light,  and  the  deepest 
shadows  by  bare  glass,  through  which  light  passes  without 
interruption.  The  print  made  from  this  is  called  a positive, 
and  in  this  the  high  lights  and  shadows  appear  as  in  na- 
ture. 

All  negatives  that  are  imperfect  are  called  either  under- 
exposed, or  over-exposed.  A negative  developed  with  too 
acid  a developer  has  the  same  characteristics  as  an  under- 
exposed one.  An  under-exposed  negative  has  the  blacks  very 
dense  and  the  half  tones  harsh  and  inharmonious  ; an  over- 
exposed negative,  however,  is  flat,  i.  e.,  the  high  lights  are  not 
vigorous,  while  the  half  tones  are  nearly  as  strong  as  the  high 
lights,  and  every  detail  is  conspicuously  shown  in  the  shad- 
ows. These  are  usually  described  thus,  the  under-exposed  as 
too  intense,  the  over-exposed  not  intense  enough  ; between 
these  limits  are  numerous  grades  of  negatives  which  produce 
positives  more  or  less  agreeable  in  proportion  to  their  de- 
grees of  intensity. 

There  is  another  mode  of  development,  described  farther  on, 
which  gives  negatives  quite  different  in  appearance  from  those 


5° 


HOW  TO  MAKE  PHOTOGRAPHS. 


produced  by  the  oxalate  of  iron  development.  It  is  known  as 
the  alkaline  development. 

The  Alkaline  Development. 

The  alkaline  development  is  composed  primarily  of  pyro- 
gallic  acid,  liquid  ammonia  and  a soluble  bromide.  In  this 
case  the  pyrogallic  acid  and  ammonia  form  the  developer  and 
the  bromide  acts  as  a restrainer  or  moderator  of  the  develop- 
ment. Proceed  as  follows  : make  a solution  of  pyrogallic 
acid,  one  and  a half  grains  to  the  ounce  of  water  (No.  i),  and 
a solution  of  half  an  ounce  of  liquid  ammonia,  sixty  grains  of 
bromide  of  potassium  and  five  ounces  of  water  (No.  2).  To 
develope  a 5 x 8 plate,  pour  out  three  fluid  ounces  of  No.  1 
and  add  to  it  fifteen  drops  of  No.  2,  and  stir  well  together 
with  a glass  rod.  As  this  mixture  decomposes  rapidly,  it 
should  be  poured  upon  the  plate  as  soon  as  possible  after 
mixing.  With  this  developer,  as  with  the  ferrous  oxalate,  the 
development  should  proceed  gradually  ; if  it  progresses  too 
rapidly  the  developer  must  be  poured  off,  a drop  or  two  of 
plain  bromide  solution  added  and  again  applied  to  the  plate. 
In  case  the  development  proceeds  too  slowly,  a little  of  the 
ammonia  should  be  added.  On  this  account  it  will  be 
necessary  to  have  at  hand  while  developing  a bottle  contain- 
ing a solution  of  bromide  of  potassium,  twelve  grains  to  the 
ounce  of  water,  and  one  containing  a mixture  of  water  one 
ounce  to  two  drams  of  liquid  ammonia,  by  using  which  in 
turn  the  development  may  be  either  retarded  or  accelerated. 
Care  must  be  taken  not  to  use  too  much  ammonia,  as  there 


Edwards’  alkaline  developer. 


5i 


is  danger  with  it  of  fogging  the  plate.  The  same  rule  as  to 
the  extent  of  the  development  must  be  observed  as  in  the 
case  of  using  the  ferrous  oxalate.  All  bottles  containing  am- 
monia should  be  kept  tightly  corked. 

As  a solution  of  pyrogallic  acid  in  water  does  not  keep 
long,  we  append  a formula  by  means  of  which  this  difficulty 
may  be  overcome. 

Edwards9  Alkaline  Developer . 

Make  two  stock  solutions  and  label  them  No.  1 and  No.  2. 

No.  1. 

Pyrogallic  acid, . 1 ounce. 

Methylated  alcohol, 6 ounces. 

Glycerine, 1 ounce. 

Mix  the  glycerine  and  spirit,  and  add  to  the  pyro — 

No.  2. 


Bromide  of  potassium, 60  grains. 

Water  (rain  or  distilled), 6 ounces. 

Strong  ammonia  (880), 1 ounce. 

Glycerine, 1 ounce. 


The  above  will  keep  good,  if  well  corked,  for  months. 

To  make  the  developer,  add  one  part  of  No.  1 to  fifteen 
parts  of  ordinary  water,  and  label  this  bottle  D (Developer)  ; 
in  another  bottle  mix  one  part  of  No.  2 with  fifteen  parts  of 
water,  and  label  A (Accelerator).  It  will  be  found  convenient, 
to  avoid  mistakes  in  the  imperfect  light  of  the  dark  room,  to 


52 


HOW  TO  MAKE  PHOTOGRAPHS. 


have  these  two  bottles  of  different  shapes.  Either  of  the  above 
solutions  will  keep  two  or  three  days,  but  they  are  best  mixed 
fresh  every  day.  When  required  to  develope  a plate,  pour 
into  a clean  glass  measure  equal  quantities  of  D and  A,  (say) 
for  a half-plate  one  ounce  of  each,  adding  the  A last,  just  be- 
fore using  ; place  the  proposed  plate  face  upward  in  a shallow 
dish  or  tray,  and  pour  the  mixture  steadily  over  the  plate, 
avoiding  air-bubbles  ; should  any  adhere  to  the  surface  of  the 
plate,  at  once  remove  them  with  the  finger  or  a camel’s-hair 
brush  kept  for  the  purpose ; rock  the  dish  gently,  taking  care 
to  keep  the  plate  we  14  covered  with  the  solution  ; in  a few 
seconds  the  image  will  appear,  and,  if  the  exposure  has  been 
well  timed,  all  the  details  will  be  out  and  the  development 
complete  in  about  one  minute,  when  the  negative  should  be 
well  washed  under  the  tap,  and  placed  at  once  in  the  fixing 
bath.  Do  not  hurry  the  development,  but  allow  the  plate  to 
remain  in  the  solution  (after  all  the  details  are  visible)  until 
the  required  density  is  obtained.  With  these  plates  and  the 
above  developer  there  is  no  danger  of  fog  except  from  light  or 
over-exposure. 

Equal  parts  of  A and  D give  the  best  result  with  a rapid  ex- 
posure, but  any  slight  error  of  over-exposure  may  be  rectified 
in  the  following  manner  : If  on  application  of  the  mixed 

developer  the  image  flashes  out  and  the  details  in  the  shadows 
appear  too  quickly,  it  is  an  indication  that  the  plate  has  been 
over-exposed  ; therefore  at  once  throw  off  the  mixed  developer, 
and,  without  stopping  to  wash  the  plate,  flood  it  with  D alone, 
when  the  development  will  be  checked,  and  will  proceed  more 
slowly,  while  the  image  gains  in  density.  If  too  slowly,  or  the 


Edwards'  alkaline  developer. 


53 


negative  appears  to  be  getting  too  intense,  add  a small  quantity 
of  A (there  will,  however,  usually  be  sufficient  of  the  latter  left 
in  the  plate,  with  the  simple  addition  of  a sufficient  quantity  of 
D)  to  complete  development.  A very  little  experience  will 
enable  the  operator  to  produce  a good  printing  negative  from 
a plate  which,  if' developed  with  the  full  proportion  of  A, 
would  have  been  utterly  useless  from  over-exposure.  In  very 
warm,  bright  weather  it  will  perhaps  be  found  an  advantage 
with  gelatino-bromide  sensitive  plates  to  use  one  part  of  A 
to  two  parts  of  D,  giving  just  sufficient  exposure  to  avoid 
hardness  in  the  negative. 

On  the  other  hand,  if  on  applying  the  mixed  developer  to 
the  exposed  plate  the  image  appears  very  slowly,  showing 
only  the  high  lights  with  but  little  detail  in  the  shadows,  the 
plate  has  evidently  been  under-exposed,  and  more  A must 
be  added  at  once.  This  may  be  done  by  pouring  the  A di- 
rect into  one  corner  of  the  developing  tray,  and  rapidly  mix- 
ing it  with  the  other  solution.  Care  must  be  taken  not  to 
add  too  much  A,  or  push  this  second  develc  pment  to  a far, 
or  the  negative  will  be  fogged  in  the  shadows,  owing  to  the 
general  reduction  of  the  silver  throughout  the  film.  If  the 
plate  be  not  too  much  under-exposed,  the  above  treatment 
will  be  all  that  is  required  ; a very  much  under-exposed  plate 
will  never  yield  a good  printing  # negative  ; it  is  better  to  try 
again.  With  fairly  timed  exposure,  and  the  above  method 
of  development,  each  plate  may  be  depended  upon  to  give  a 
good  printing  negative,  requiring  no  intensifying. 


54 


HOW  TO  MAKE  PHOTOGRAPHS. 


Anthony’s  Alkaline  Solution  for  Eyrogal- 
lic  Development . 

No.  i.  Make  a solution  of  pyrogallic  acid  from  one  and 
a half  to  two  grains  per  ounce  of  water,  and  to  this  add  one 
grain  of  citric  acid  for  every  ten  grains  of  the  pyrogallic 
acid. 

To  develope,  take  of  No.  i the  proper  quantity  to  well  cov- 
er the  plate,  (say)  for  an  8 x 5 three  ounces  will  be  sufficient  ; 
to  this  add  half  a dram  of  No.  2.  (No.  2 is  Anthony’s  ready- 
prepared  alkaline  solution.)  Mix  well  and  pour  over  the 
plate.  If  the  picture  does  not  appear  readily,  add  carefully 
some  more  of  No.  2 (about  half  a dram)  ; when  the  nega- 
tive begins  to  appear  allow  the  development  to  proceed  with- 
out adding  any  more  of  No.  2,  unless  absolutely  necessary. 
This  development  may  be  varied  by  using  different  propor- 
tions of  the  alkaline  and  pyrogallic  solutions.  The  alkaline 
stock  solution  should  be  kept  well  corked.  It  can  be  ob- 
tained in  quart,  pint  or  half-pint  bottles. 


A Complete  Remedy  for  Over-Exposure . 

The  subject  of  citrates  in  the  developer  as  a complete  rem- 
edy for  over-exposure  has  engrossed  the  attention  of  many 
eminent  persons.  We  therefore  take  this  opportunity  of 
quoting  the  following  article,  by  Mr.  G.  Watmough  Web- 
ster, F.  C.  S.,  from  the  British  Journal  Almanac  for  1 883  : 

Everybody  knows  the  general  method  of  procedure  when, 
after  the  application  of  the  usual  developer,  the  image,  in- 


A COMPLETE  REMEDY  FOR  OVER-EXPOSURE. 


55 


stead  of  making  its  appearance  by  degrees,  shows  a great 
amount  of  detail  almost  at  the  moment  the  brightest  point 
comes  out,  and  the  practiced  hand  is  aware  of  considerable 
exposure  having  been  given.  The  plate  is  instantly  rinsed, 
fresh  developer  with  an  excessive  proportion  of  bromide  and 
diminished  ammonia  is  used,  and  the  quantity  of  pyro. 
perhaps  almost  doubled. 

If  the  exposure  have  been  fifty  or  a hundred  per  cent,  in 
excess  of  what  experience  tells  us  is  the  correct  one  with  the 
class  of  plate  under  employment  the  result  may  be  passable  ; 
it  will,  after  a great  deal  of  time  and  trouble  and  an  extra 
supply  of  chemicals  have  been  spent  over  it,  more  probably 
be  worthless.  My  experience  was  that  when  there  was  any 
chance  of  making  a fresh  exposure  a thoroughly  over-exposed 
plate  had  better  be  placed  in  the  sink  at  once  than  have  one 
minute  of  time  spent  over  it,  when  once  the  fact  of  such 
over-exposure  was  ascertained.  Nowadays,  however,  my 
views  are  changed. 

While  still  holding  the  opinion  that  for  the  production  of 
perfect  negatives  there  is  one  exposure  right  and  that  all 
others  are  wrong,  I do  believe  that  by  the  use  of  an  alkaline 
citrate  the  effects  of  over-exposure  may  be  so  minimized  that 
results  of  an  extremely  satisfactory  nature  can  be  obtained, 
and  that  in  cases  where  no  amount  of  treatment  with  bromide 
would  have  given  even  a passable  negative.  This  method 
will  allow  (with  over-exposure  so  great  as  fo  be  beyond  the 
range  of  probability  with  an  ordinarily  practiced  photogra- 
pher) a negative  to  be  obtained  that  would  show  little  or  no 
signs  of  over-exposure  in  the  print  from  it,  and  little  inferi- 


56 


HOW  TO  MAKE  PHOTOGRAPHS. 


ority  over  one  properly  exposed.  I need  not  say  that,  for  a 
restraining  agent  to  be  of  any  great  value,  its  application 
must  be  practically  instantaneous  upon  a negative  that  has 
been  started  to  develope  in  the  usual  manner ; hence,  where 
over-exposure  is  feared,  a mere  tentative  mode  of  develop- 
ment than  would  ordinarily  be  employed  should  be  practiced. 
For  the  development  of  a number  of  plates,  where  some 
doubt  as  to  exposure  may  exist,  but  where  extreme  over-ex- 
posure it  is  felt  will  not  have  occurred,  it  will  suffice  to  have 
the  restrainer  at  hand  ready  to  mix  with  the  solution  which 
covers  the  plate.  Further  development  will  then  be  prevent- 
ed, and  the  usual  means  of  procuring  intensity  may  be  re- 
sorted. to.  The  solution  I employ  is  made  as  follows — it  is 
simple  enough — 

Citrate  of  soda,  . i ounce.  | Water,  ...  4 ounces. 

For  a half-plate  my  developing  solution  usually  contains  six 
minims  of  ammonia  (I  proportion  the  citrate  to  the  ammo- 
nia), and  about  two  drams  of  the  above  solution  will  be  suf- 
ficient to  counteract  the  effect  of  double  or  treble  the  correct 
exposure. 

Perhaps  the  most  important  use  of  the  citrate  will  occur 
when  a whole  series  of  plates  are  over-exposed,  or  when  a 
test  plate  shows  extreme  miscalculation  in  that  direction.  If 
the  citrate  solution  be  added  to  the  developer  before  putting 
the  plate  in  the  full  effect  will  be  obtained  ; and  I am  speak- 
ing within  the  mark  in  saying  an  almost  perfect  result  may 
be  obtained  when  four  or  five  times  the  correct  time  has  been 


given. 


INTENSIFYING  SOLUTIONS. 


57 


When  over-timing  makes  itself  visible  unexpectedly,  and  it 
is  feared  that  the  development  will  have  proceeded  too  far  be- 
fore the  retarder  can  act — for  it  is  well  known  that  a plate 
goes  on  developing  for  some  time  after  even  the  strongest 
current  of  water  is  turned  upon  it — an  excellent  plan  is  to 
throw  over  the  surface  a solution  of  citric  acid,  containing 
also  a little  chrome  alum,  the  acid  having  the  double  effect 
of  destroying  the  alkalinity  and,  consequently,  the  develop- 
ing power  of  the  developer,  and  of  introducing  into  the  film 
a small  portion  of  the  citrate  of  ammonia.  For  a minor  ex- 
tent of  over-exposure  the  proportion  of  citrate  above  described 
will  naturally  be  reduced. 

Citrate  of  ammonia  possesses  a retarding  power  still  great- 
er than  the  soda  citrate,  and  it  is  capable  of  counteracting  a 
seven  or  eight  times  too  great  exposure.  Citrate  of  potash  I 
tried  at  first ; but,  without  actually  condemning  it  as  inferior 
to  the  citrate  of  soda,  I must  state  that  its  action  pleased  me 
less. 

In  conclusion  : I should  wish  to  say  that,  if  any  one  will 
give  this  method  of  counteracting  the  effect  of  over-exposure 
by  the  use  of  a soluble  citrate  a trial,  he  will  never  be  with- 
out a supply  of  the  salt  at  hand  in  his  developing  room. 


Intensifying  Solutions  for  Gelatine  Xeg- 
atives . 


20  grains. 


20 


( C 


Mercuric  chloride. 
Ammonium  “ 
Water. 


i ounce. 


5« 


HOW  TO  MAKE  PHOTOGRAPHS. 


Wash  the  negative  thoroughly  afcer  fixing  and  apply  the 
above  until  the  film  acquires  a uniformly  gray  tint.  Wash 
again  and  apply  a very  weak  solution  of  ammonia,  ten  drops 
of  the  latter  to  one  ounce*  of  water ; then  wash  again. 

Or  the  following  : 

No.  i. 


Water, i ounce. 

Persulphate  of  uranium, io  grains. 


No.  2. 


Water, i ounce. 

Red  prussiate  of  potash, io  grains. 


When  the  above  solutions  are  dissolved,  mix  equal  portions 
of  No.  i and  2 and  flow  on  and  off  the  negative  until  the  de- 
sired density  is  obtained  ; then  wash  well.  This  gives  a 
brownish-red  color. 

Roche’s  Intensifier. 


Water, 10  ounces. 

Sulphate  of  copper, 100  grains. 


Bromide  of  potassium, 100  “ 

When  dissolved,  this  solution  is  ready  for  application,  and 
can  be  used  repeatedly.  The  negative,  after  fixing  and  wash- 
ing, is  immersed  in  this  solution  until  it  bleaches  or  turns 
white. 

Now  remove  and  wash  slightly,  then  immerse  the  plate  in 
the  ferrous  oxalate  developer,  and  allow  it  to  remain  until  it 


REPRODUCED  NEGATIVES. 


59 


is  black  entirely  through  the  film.  This  mode  gives  fine  re- 
sults and  a good  printing  color. 

Practical  Notes . 

Wash  very  thoroughly  after  development  and  fixing.  The 
hypo,  must  not  be  used  too  often,  as  it  becomes  discolored 
and  will  stain  the  clear  parts  of  the  negative. 

Weak  and  thin  images  are  usually  caused  by  excessive  over- 
exposure and  by  removing  the  plate  from  the  solution  before 
the  development  is  complete.  An  excess  of  the  alkaline  so- 
lution in  the  pyro.  developer  also  tends  to  give  negatives 
wanting  in  contrast. 

After  fixing  a negative,  wash  the  hypo,  from  your  fingers 
before  handling  another  plate. 

Retouching  and  Varnishing  the  Negative . 

Retouching  may  be  done  upon  the  dried  and  warmed  film 
before  varnishing,  or  the  pencil  may  be  used  on  the  varnish 
in  the  usual  way.  A good,  tough  varnish  should  always  be 
used,  great  care  being  taken  that  the  negative  is  thoroughly 
dry  throughout  the  whole  thickness  of  the  film  before  the  ap- 
plication of  the  varnish,  and  that  the  latter  flows  well  up  to 
the  edges  of  the  plate. 

Reproduced  Negatives  and  Transparencies 

May  readily  be  produced  by  means  of  dry  plates  in  the  fol- 
lowing manner  : Place  the  negative  to  be  copied  with  the 

film  side  in  contact  with  a sensitive  dry  plate  in  the  dark 


6o 


HONV  TO  MAKE  PHOTOGRAPHS. 


slide  of  the  camera,  draw  out  the  latter  to  its  fullest  extent, 
and  expose  the  negative  and  plate  for  a few  seconds  to  the 
light  reflected  through  the  lens  from  a sheet  of  white  paper, 
placed  at  an  angle  a short  distance  (but  not  in  focus)  in  fiont 
of  the  objective  ; in  this  manner  the  exposure  can  be  perfectly 
controlled  and  correctly  timed.  It  is  advisable  to  use  a small 
stop  in  the  lens  in  order  to  obtain  perfect  definition,  in  case 
of  a want  of  absolute  contact  between  the  surfaces  of  the  neg- 
ative and  the  sensitive  plate.  In  this  manner  positives  suita- 
ble for  enlargement  may  be  made  with  great  facility ; to  re- 
produce negatives  of  the  same  size  as  the  original,  it  is  simply 
necessary  to  repeat  the  foregoing  operation,  using  the  posi- 
tive as  a cliche.  In  the  case  of  valuable  negatives,  it  is  recom- 
mended that  a good  positive  be  invariably  taken  and  kept  in 
stock,  for  fear  of  injury  to  the  original  negative ; or  you  can 
put  a plate  in  contact  with  the  negative  in  the  printing- frame, 
and  expose  to  gaslight  at  a distance  of  six  or  twelve  inches 
for  five  or  ten  seconds.  Use  bromide  in  the  developer — the 
iron  developer  gives  the  best  tone. 

Sometimes  the  plate , when  developed  with  ferrous-oxalate , be- 
comes covered  with  a yellow  deposit. — This  defect  occurs  when 
too  large  a proportion  of  the  protosulphate  solution  is  used 
with  the  oxalate  solution.  This  is  very  likely  to  occur  when 
the  solution  of  oxalate  of  potash  is  not  thoroughly  saturated. 
In  winter,  the  temperature  of  this  solution  should  never  be 
less  than  fifty  degrees  Fahr. 


FRILLING, 


6 1 


Stained  Films 

Are  often  caused  by  imperfect  fixing,  or  by  not  sufficiently 
washing  the  plate  after  developing  and  before  fixing,  or  by 
exposure  to  air  and  light  before  thoroughly  washing,  after  re- 
moving the  plate  from  the  fixing  bath.  The  plate  should 
be  fixed  in  the  dark  room,  previous  to  exposure  to  actinic 
light. 

Fogged  Negatives 

Are  the  result  of  excessive  over-exposure,  or  the  plates  hav- 
ing been  exposed  in  some  way  to  the  action  of  light,  either 
by  the  use  of  too  much  light  in  the  dark  room,  or  by  leakage 
of  light  in  the  camera  or  dark  slides.  A peculiar  kind  of 
fog,  yellowness  or  stain  in  the  shadows,  is  sometimes  caused 
by  the  use  of  too  much  ammonia,  or  an  insufficient  quantity 
of  bromide  in  the  developer. 


Frilling . 

By  this  term  is  meant  the  action  which  occurs  in  the  de- 
velopment of  all  plates  (except  the  Tropical)  when  the  wa- 
ter or  temperature  is  too  warm,  and  is  shown  by  the  wrink- 
ling of  the  gelatine  film  all  around  the  borders  of  the  plate. 
This  can  be  prevented  by  using  Anthony’s  Anti-frill,  as  di- 
rected by  the  label  on  the  bottle,  or  it  can  be  partially  pre- 
vented by  immersing  for  a few  minutes  in  the  alum  bath  be- 
fore fixing  : 

Alum,  ...  i ounce.  | Water,  . . 16  ounces. 


62 


HOW  TO  MAKE  PHOTOGRAPHS. 


Care  should  be  taken  to  keep  the  finished  negatives  in  a 
thoroughly  dry  place ; with  this  precaution  they  may  be  de- 
pended upon  as  absolutely  permanent. 

Clearing  Solution  for  Stained  Gela- 
tine Negatives . 

Alum, 2 ounces. 

Citric  acid, i ounce. 

Water, io  ounces. 

After  fixing  and  washing,  immerse  the  negative  from  three 
to  five  minutes  in  this  solution.  On  removal  wash  well. 

To  remove  the  last  trace  of  hypo,  from  the  film,  immerse 
a few  minutes  in  the  following  solution  and  agam  wash  : 


Water, 16  ounces. 

Saturated  solution  of  acetate  of  lead,  . . io  drops. 


Varnishing. 

Ordinarily  with  gelatino-bromide  dry  plates,  unless  a great 
many  proofs  are  required,  varnishing  is  unnecessary;  but,  it 
it  is  desired,  warm  the  plate  slightly,  and  (after  it  has  become 
perfectly  dry)  hold  it  in  the  left  hand  by  one  corner  between 
the  thumb  and  forefinger,  and  pour  the  varnish  on  the  right- 
hand  upper  part  of  the  plate  so  that  it  spreads  to  the  edge  ot 
the  glass  in  that  comer.  Tilt  it  slightly,  so  that  the  varnish 
will  flow  to  the  left-hand  upper  corner ; then  bring  it  down 
close  to  the  thumb,  thence  to  the  right-hand  lower  corner, 


CHEMICALS. 


63 


and  drain  it  into  the  bottle,  rocking  it  edgewise  to  and  fro 
while  doing  so.  This  motion  prevents  its  drying  in  streaks 


or  ridges.  Set  it  away  to  dry  where  no  dust  will  fall  on 
it. 

Chemicals. 

The  quality  of  the  articles  used  is  a most  important  item. 
Purchase  only  those  prepared  expressly  for  the  purpose,  and 
as  they  are  inexpensive,  be  sure  and  have  a full  supply  of 
everything.  Sufficient  quantities  for  many  plates  can  be  car- 
ried in  a small  space,  with  the  graduates  and  funnels  neces- 
sary for  mixing. 


CHAPTER  V. 


Paper  Positives • 


FTER  having  made  the  negative,  the  next  step  is  to  pro- 


duce the  positive,  or  print  on  paper,  which  now  more 
clearly  reveals  to  the  novice  the  hidden  beauties  of  his  negative. 
These  are  obtained  by  exposing  to  the  light  a piece  of  sensi- 
tized paper,  pressed  closely  against  the  film  of  the  negative, 
allowing  no  light  other  than  that  passing  through  the  nega- 
tive to  act  upon  the  paper.  This  action  in  photography  is 
called  printing,  and  the  resulting  picture  a positive.  As 
the  negative  reverses  everything,  the  positive  on  the  contrary 
restores  the  subject  to  its  natural  position.  The  paper  used 
is  generally  one  that  has  been  coated  with  albumen,  as  this 
gives  a smooth  surface,  and  reproduces  the  finest  lines  in  the 
negative.  Paper,  when  used  without  such  coating,  gives  a 
coarser,  less  pleasing  result.  Before  prints  can  be  made  on 
albumenized  paper  it  must  be  sensitized  with  the  salts  of 
silver;  but  as  this  article  is  supplied  all  ready  for  use,  we 
will  not  go  into  the  details  of  its  preparation.  We  advise, 
therefore,  the  amateur  to  leave  it  for  future  experiment. 


PRINTING-FRAME. 


65 


The  sensitized  albumen  paper  is,  of  course,  sensitive  to  the 
action  of  light,  i.  <?.,  if  exposed  to  strong  light  it  will  change 
color  and  gradually  darken,  if  such  exposure  be  continued, 
until  eventually  it  would  become  black.  By  interposing  the 
negative  between  the  light  and  the  paper  the  different  grada- 
tions of  light  and  shade  are  printed  on  the  paper,  but  re- 
versed, as  compared  with  the  negative.  The  transparent 
parts  in  the  negative  become  the  dark  parts  in  the  resulting 
positive  ; and  if  there  should  be  spots  or  places  in  the  neg- 
ative so  dense  that  no  light  could  be  seen  when  held  up  and 
looked  through,  such  places  or  spots  would  prevent  the 
light  from  acting  on  the  sensitized  paper,  and  they  would 
remain  perfectly  white  in  the  positive  wherever  they  might 
occur ; the  less  opaque  places  would  print  stronger  or  lighter 
according  to  their  density  or  opacity.  The  sensitized  paper 
should  therefore  be  kept  well  secured  from  light  at  all  times 
before  and  after  printing,  until  the  print  is  fixed.  Full  di- 
rections for  these  operations  are  given  further  on,  and  ac- 
company each  lot  of  the  paper.  While  the  dry  plates  during 
manipulation  can  be  exposed  only  in  ruby  light,  the  sensi- 
tized albumen  paper  can  be  used  by  yellow  or  orange  light. 
Moderate  lamp  or  gaslight  will  not  affect  it,  unless  exposed 
too  long  to  their  influence. 


Printing-  Frame. 

This  is  made  for  the  purpose  of  printing  by  light  through 
the  negative  upon  the  sensitized  paper.  It  is  an  oblong 
frame,  wiih  a ledge  on  the  inside,  and  a hinged  door  fitting 


66 


HOW  TO  MAKE  PHOTOGRAPHS. 


into  and  occupying  all  the  back,  each  door  having  a spring 
rivetted  to  it.  These  springs  reach  across  the  back,  and  by 
pressing  down  the  ends  and  turning  them  until  the  ends  of 

the  springs  catch  under  the 
buttons  on  the  edge  of  the 
frame,  the  doors  are  held 
securely  in  place,  and  press 
the  sensitized  paper  firmly 
against  the  film  of  the  neg- 
ative while  being  printed. 
As  the  print  has  to  be  ex- 
amined from  time  to  time, 
to  ascertain  whether  it  has  been  sufficiently  exposed  to  the 
igh,  by  loosening  one  spring  only  one  of  the  doors  can  be 
opened  and  the  print  raised  and  examined.  These  printing- 
frames  are  made  to  fit  all  sizes  of  plates  ordinarily  used  for 
making  negatives  upon  ; and  although  a large  frame  can  be 
used  for  small  negatives  by  first  placing  in  it  a piece  of  clean, 
clear  glass  that  just  fits,  and  then  the  negative  on  this  glass, 
we  recommend  every  one  to  use  frames  of  the  exact  size  of 
the  negative,  as  few  of  them  are  required  and  they  are  quite 
inexpensive. 

A notable  improvement  in  our  printing-frame  consists  in  in- 
terposing a brass  washer  between  the  spring  and  the  hinged 
door,  which  prevents  the  chafing  of  the  wood-work,  that  would 
otherwise  ensue. 

Keeping  the  Sensitized  Paper. 

Where  but  one  size  of  plate  is  used,  it  is  advisable  to  cut 


TONING, 


67 


the  paper  at  once  to  that  size,  or  one-eighth  of  an  inch 
smaller,  laying  the  pieces  carefully  together,  and  keeping 
them  flat  and  well  wrapped  in  the  orange  or  yellow  paper 
in  which  the  sensitized  paper  is  rolled. 

Printing. 

Lay  the  printing-frame  on  the  table  face  downward.  Re- 
move the  back  and  lay  the  negative  in  the  frame  with  film 
side  uppermost.  On  the  negative  place  a piece  of  the  pa- 
per, with  the  sensitized  surface  towards  the  negative  film. 
Then  lay  several  thicknesses  of  newspaper  behind  the  paper, 
replace  the  back  and  fasten  it  down  by  the  springs.  Now 
put  the  printing-frame  in  the  sun  and  print  until  the  white 
parts  of  the  print  begin  to  show  a slight  discoloration.  This 
can  be  seen  by  opening  one-half  the  back  and  examining 
the  print  from  time  to  time.  After  all  the  prints  have  been 
made,  soak  them  for  ten  minutes  in — 

Water, 6 ounces. 

Solution  B, 1-3  ounce. 

They  are  now  ready  for  the 


Toning. 

The  toning  bath  is  made  up  of — 

Water, 

Solution  A, 

“ B, 

“ C, 

11  D, 


5 ounces. 
1 ounce. 


1 


68 


HOW  TO  MAKE  PHOTOGRAPHS. 


(Add  solution  A just  before  you  wish  to  use  the  toning 
bath. ) 

Test  this  with  the  blue  litmus  paper.  If  the  paper  turns 
red,  add  solution  B until  it  returns  to  its  blue  color.  Warm 
the  toning  bath  sufficiently  to  feel  slightly  tepid.  Immerse 
the  prints  until  they  assume  a rich,  warm  color,  as  desired, 
or  become  of  a bluish  tone.  Then  wash  them  in  one  change 
of  water  and  immerse  in  a solution  as  follows  : 

Fixing  Bath. 

Water, 8 ounces. 

Hypo,  soda, i ounce. 

They  will  first  assume  a reddish-brown  color ; but  keep 
them  in  the  solution  until  they  resume  the  original  tone, 
which  will  be  lighter  than  when  they  left  the  toning  bath. 

The  prints  must  then  be  washed  in  several  changes . of  wa- 
ter to  perfectly  eliminate  the  hyposulphite  of  soda  from  the 
paper.  If  any  remains,  it  will  cause  fading  and  yellow  spots. 
Then  dr}7  and  mount. 


Caution. 

The  sensitized  paper  must  be  kept  in  a dark  place.  Cut- 
ting can  be  done  in  a weak  light,  by  candle  or  gas.  All  can 
be  cut  the  desired  size  at  once  and  stored  in  a dark  box  un- 
til wanted.  After  the  print  is  made  and  removed  from  the 
printing-frame,  put  it  in  the  dark  box  until  it  is  required 
for  toning,  which  can  be  done  when  a batch  is  ready. 

In  removing  prints  from  the  toning  bath  put  them  in  a 


RAPID  PRIMING  PAPER. 


69 


dish  of  clean  water  as  finished,  and  when  all  are  toned,  wash 
in  one  change  of  water.  Now  place  the  dish  containing 
the  toned  prints  on  the  right  hand,  and  the  fixing  bath,  com- 
posed of  hyposulphite  of  soda  and  water,  on  the  left.  Raise 
a print  from  the  water  with  the  right  hand,  transfer  it  to  the 
left  hand,  and  immerse  it  in  the  fixing  bath.  Continue  thus 
until  all  have  been  transferred,  and  place  the  empty  dish 
where  it  cannot  possibly  receive  a trace  of  the  hyposulphite 
of  soda. 

Use  the  same  dishes  for  the  same  solutions  at  all  times,  and 
never  change  them.  More  failures  result  from  carelessness 
in  carrying  the  hyposulphite  of  soda  into  the  various  dishes 
than  from  all  other  causes. 

The  solutions  may  be  purchased  ready  made,  as  follows, 
though  we  advise  all  to  procure  the  proper  chemicals  and 
mix  them  for  themselves. 

Solution  A is  composed  of  water,  7^  ounces ; chloride  of 
gold,  15  grains. 

Solution  B is  composed  of  water,  8 ounces  ; bicarbonate 
of  soda,  1 ounce. 

Solution  C is  composed  of  water,  8 ounces ; acetate  of  soda, 
4CO  grains. 

Solution  D is  composed  of  water,  4 ounces  ; chloride  of 
sodium,  160  grains. 


Anthony’s  Patent  Rapid  Printing  Paper . 

As  this  paper  possesses  all  the  sensitiveness  of  the  gelatine 
dry  plate,  it  must  always  be  used  in  a room  free  from  actinic 


70 


HOW  TO  MAKE  PHOTOGRAPHS. 


light,  and  prints  can  be  made  upon  it  very  quickly  by  means 
of  ordinary  gaslight.  Consequently  printing  can  be  done  at 
night,  if  desired,  and  even  in  the  daytime  artificial  light  alone 
should  be  used  in  making  prints  upon  it.  It  is  placed  in  a 
printing-frame,  in  the  same  manner  as  the  sensitized  albumen 
paper,  and  an  exposure  of  five  to  ten  seconds  to  the  light  of 
an  ordinary  single  gas  burner  at  the  distance  of  one  foot  will 
be  sufficient  to  make  the  impression.  This  has  to  be  devel- 
oped in  the  same  manner  as  a gelatine  negative.  Previous  to 
the  development  lay  the  paper  in  a dish  of  clean  water  for  a 
short  time,  and  then  transfer  it  to  the  developing  tray.  Pour 
over  it  the  following  developer,  for  a print  6 ^ x 8^  inches  : 

Saturated  solution  of  oxalate  of  potash,  . . 3 ounces. 

Saturated  solution  of  Anthony’s  pure  proto- 
sulphate of  iron, ^ ounce. 

Bromide  solution,  (12  grains  of  bromide  of 

potash  to  1 ounce  of  water),  . . % dram. 

Saturated  solution  of  tartaric  acid,  ...  2 drops. 

This  developer  can  be  used  several  times  successively,  but 
it  should  not  be  after  it  becomes  turbid.  Care  must  be 
taken  not  to  develope  too  long,  as  the  resulting  print  in  such 
case  becomes  too  dark.  It  is  better  to  keep  a stock  of  the 
saturated  solution  of  photosulphate  of  iron  always  on  hand. 
To  prevent  oxidation,  it  is  necessary  to  add  to  a pint  of  the 
above  one  dram  of  a saturated  solution  of  tartaric  acid.  This 
we  find  to  give  better  results  than  sulphuric  acid,  which  is 
therefore  dispensed  with. 


PROCESS  OF  PRINTING.  7 1 

Wash  the  prints  well  after  developing  and  fix  them  in  a 


bath  of — 

Hyposulphite  of  soda, i ounce. 

Water,  . : 8 ounces. 


The  fixing  will  require  from  three  to  ten  minutes  ; then  wash 
and  pass  through  a solution  of  common  alum  one  ounce, 
water  six  ounces ; wash  again  and  dry. 

Care  must  be  taken  that  no  chemical  substance,  such  as 
nitrate  of  silver  or  hyposulphite  of  soda,  cling  to  the  hands 
when  using  the  paper — to  neutralize  nitrate  of  silver,  if  any 
should  be  on  the  hands,  wash  them  in  a weak  solution  of 
salt ; the  hyposulphite  can  similarly  be  rendered  harmless  by 
washing  in  a weak  solution  of  any  acid. 

The  same  precautions  as  to  the  relative  proportions  of  the 
oxalate  solution  and  that  of  iron  are  to  be  observed  as  point- 
ed out  in  the  directions  for  the  development  of  the  plates. 

The  rapid  printing  paper  is  admirably  adapted  for  enlarge- 
ments, and  takes  the  crayons  or  colors  with  great  ease. 

Notes. — The  sensitive  side  of  paper  is  rolled  in. 

Bromide  in  the  developer  gives  more  contrast. 

The  slightest  trace  of  nitrate  of  silver  or  hypo,  on  the  fin- 
gers (when  handling  the  paper  previous  to  exposure),  will 
cause  stains. 

A discolored  fixing  bath,  from  continual  use,  will  not  give 
pure  whites. 

Develope  for  all  the  details,  but  do  not  carry  the  develop- 
ment too  far,  if  brilliant  results  are  desired.  More  iron  can 


72 


HOW  TO  MAKE  PHOTOGRAPHS. 


be  added  to  the  developer,  if  required  ; but  it  must  not  ex- 
ceed one  ounce  of  iron  to  three  of  the  oxalate  of  potash. 
The  addition  of  a little  citric  or  tartaric  acid  increases  the 
brilliancy  of  the  tints.  The  paper  is  prepared  only  by  our- 
selves. 

The  Ferro -prussiate  Process  of  Printing . 

Paper  for  this  process  is  very  easily  prepared,  as  follows  r 


Make  two  solutions. 

1.  Water, 2 ounces. 

Red  prussiate  of  potash,  ....  120  grains. 

2.  Water, 2 ounces. 

Ammonia  citrate  of  iron,  ....  140  grains. 


Dissolve  and  mix  together  and  filter  into  a clean  bottle. 
The  combined  solution  should  be  kept  and  only  applied  in 
the  dark  room.  To  be  used,  it  must  be  poured  into  a dish, 
and  the  paper  laid  down  evenly  upon  its  surface  and  left  un- 
til it  lies  flat  without  curling,  It  is  then  hung  up  to  dry, 
when  it  can  be  used  immediately,  or  it  may  be  kept  by  roll- 
ing up  and  placing  in  a tin  box,  with  a cover,  to  keep  out 
light  and  moisture. 

To  make  a print  on  this  paper,  place  the  prepared  surface 
in  contact  with  the  negative  in  a printing-frame,  as  usual,  and 
expose  to  sunlight.  As  the  strength  of  the  light  and  the 
density  of  negatives  vary,  there  can  be  no  definite  time  given 
for  the  duration  of  the  printing  operation.  The  rule  is  to  al- 
low the  light  to  act  sufficiently  long  to  change  the  portions 
which  first  print  blue  to  a gray,  with  a slight  metallic  lustre. 


CLOUDS. 


73 


At  this  point  arrest  the  printing  and  put  the  print  in  clean 
water.  It  now  gradually  becomes  a rich  blue  throughout, 
except  in  the  parts  which  should  remain  white.  Now  change 
the  water  from  time  to  time  until  there  remains  no  discolor- 
ation in  the  whites  ; dry,  and  the  picture  requires  no  further 
treatment. 


To  Remove  Skies. 

Sometimes  this  is  desired,  on  account  of  imperfections  or 
stains,  or  even  to  make  them  appear  whiter  and  more  bril- 
liant than  they  would  in  the  plain  print.  To  do  this,  make 
a print  on  a piece  of  sensitized  albumen  paper ; and,  without 
toning  it,  cut  out  with  a pair  of  scissors  all  but  the  sky. 
This  latter  part  can  be  laid  in  the  sun,  where  it  will  soon  be- 
come black  and  perfectly  opaque.  Fasten  this  against  the 
film  close  to  the  outer  edge  of  the  negative  by  a little  muci- 
lage, adjusting  it  very  carefully  in  the  same  position  as  when 
printed,  and  make  a print  from  the  negative  with  the  paper 
covering  the  sky. 

Clouds. 

Sometimes  there  may  be  a cloud  in  one  negative  that  it  is 
desirable  to  put  in  another.  This  can  be  done  by  printing 
all  but  the  sky,  as  last  noted,  and  covering  up  the  subject  in 
the  print  in  the  same  manner  as  you  did  the  sky  in  the  neg- 
ative, printing  the  cloud  part  only.  Some  persons  photo- 
graph the  sky  alone,  when  fine  cloud  effects  can  be  had, 
and  use  the  negatives  solely  for  that  purpose. 


74 


HOW  TO  MAKE  PHOTOGRAPHS. 


Trimming  the  Prints. 

After  the  prints  are  thoroughly  dry,  they  are  cut  to  the  de- 
sired size  and  shape,  patterns  for  which,  made  of  thick  plate 
glass  with  beveled  edges,  are  specially  prepared  for  the  pur- 
pose. Laying  the  print  on  a sheet  of  glass,  face  upward, 
place  the  glass  pattern  on  it,  covering  that  part  of  the  picture 
you  wish  to  mount  ; now  press  down  firmly  on  the  pattern 
and  run  a sharp  knife  all  around  it,  cutting  through  the  print 
close  to  the  edge  of  the  pattern. 

Mounting . 

As  the  prints  naturally  roll  and  curl,  in  order  to  mount 
easily  place  them  in  a basin  of  water,  allowing  them  to  re- 
main until  all  become  quite  flat.  Now  lay  them  on  a sheet 
of  clean  paper,  face  downward,  and  remove  the  excess  of 
moisture  with  a piece  of  blotting-paper  ; cover  smoothly  and 
evenly  with  a flat  brush,  using  gum  royal  or  starch  (prefer- 
ably the  former).  Seize  the  print  by  opposite  corners,  turn 
it  face  uppermost,  and  lower  it  gently  on  the  cardboard,  al- 
lowing the  lower,  central  part  to  touch  first ; then  gradually 
let  it  down  on  the  card,  taking  care  to  have  it  come  in  prop- 
er position  ; lay  a piece  of  clean,  smooth  paper  on  it  and 
rub  well,  to  push  to  the  edges  any  bubbles  of  air  that  may 
have  come  between  the  print  and  the  card.  A circular  mo- 
tion of  the  hand,  beginning  at  the  centre  and  finishing  at 
the  edges,  is  best ; then  lay  the  mounted  prints  away  until 
dry,  after  which  they  can  be  smoothed  down  with  a warm 
flat  iron. 


GUM  FOR  MOUNTING. 


75 


Gum  for  Mounting . 

Starch  will  answer  the  purpose,  but  as  this  must  be  always 
used  fresh,  we  supply  an  article  called  “gum  royal/’  which 
never  sours  or  molds  and  is  always  ready.  It  comes  in 
quart  and  pint  bottles,  and  is  very  useful  in  any  household 
for  many  purposes  outside  of  photography.  Nothing  ap- 
proaches it  for  the  puipose  intended.  A print  mounted 
with  it  can  readily  be  removed  from  the  card  by  soaking  in 
water. 


CHAPTER  VI. 


Taking  Portraits,  Groups  and  In - 
stantgneous  Pictures. 

\ S amateurs  generally  may  not  have  a skylight  such  as  is 
^ used  by  photographers  and  yet  find  great  pleasure  in 
taking  pictures  of  their  families  and  friends,  besides  all  their 
household  surroundings,  they  must  have  recourse  to  a room 
with  a window  giving  a strong  side  light,  or  else  make  the 
negatives  out  of  doors.  In  the  former  case  the  effect  of  the 
strong  side  lights  must  be  counterbalanced  by  white  screens, 
so  placed  as  to  reflect  light  upon  the  side  of  the  sitter  oppo- 
site the  window,  and  the  largest  diaphragm  in  the  lens  used 
that  may  be  found  to  include  sufficient  depth  and  field. 

Out  of  doors  the  sitter  should  never  be  placed  in  direct 
sunlight — always  in  the  shade,  with,  if  possible,  a background 
of  shrubs,  or  flowers,  etc.  In  this  case,  also,  the  largest  open- 
ing compatible  with  depth  and  field  should  be  used  for  the 
purpose  of  giving  a short  exposure. 

In  this  connection  it  seems  proper  to  introduce  the  con- 
sideration of  instantaneous  pictures , the  taking  of  which  will  be 
found  by  the  amateur  to  have  a peculiar  charm.  To  make 


TAKING  PORTRAITS,  ETC. 


77 


these  effectually,  it  is  necessary  to  have  a Dallmeyer  Rapid 
Rectilinear  Lens,  a drop  shutter  for  giving  very  short  ex- 
posures, and  the  very  quickest  of  plates  (Eastman’s  Special). 

The  drop  as  generally  made  consists  of  two  thin  pieces  of 
wood,  each  having  a hole  cut  into  it  of  the  same  size,  and  so 
arranged  that  when  one  piece  is  placed  upon  the 
end  of  the  tube  (which  fits  into  the  circular  open- 
ing, ) the  other  piece  can  be  made  to  slide  up  and 
down  directly  against  it.  In  thus  sliding  up  and 
down,  the  orifice  in  the  latter  piece  will  pass  in  front 
of  that  of  the  former,  and  in  its  passage  the  light 
from  the  outside  will  enter  the  lens.  Necessarily 
the  quicker  the  movement  of  one  opening  past 
the  other,  the  shorter  the  exposure.  If,  then,  the 
outer  piece  is  fixed  so  as  to  slide  in  grooves  which  will  con- 
fine it  to  a vertical  movement,  it  may  be  allowed  to  drop,  and 
the  two  holes  made  to  pass  each  other  very  rapidly.  These  * 
are  made  by  E.  & H.  T.  Anthony  & Co.  to  fit  lenses  of  differ- 
ent sizes.  For  these  pictures  the  alkaline  development  is 
best. 

When  the  camera  and  drop  are  ready,  the  drop  is  held  in 
place  by  a little  detent.  As  the  object  to  be  taken  approaches 
the  direction  in  which  the  lens  points,  loose  the  detent  and 
the  slide  drops,  making  an  exposure  of  about  one-twentieth 
part  of  a second.  Great  care  must  be  taken  not  to  jar  the 
camera. 

With  the  Eastman  Special  plates  and  a good  strong  light  it 
is  not  necessary  to  use  the  diaphragm  with  the  largest 
opening.  The  drop  described  above  is  the  simplest,  but  a 


78 


HOW'  TO  MAKE  PHOTOGRAPHS. 


great  many  other  mechanical  contrivances  for  exceedingly 
shoit  exposures  are  in  use. 

In  all  cases  in  taking  outdoor  views  be  careful  not  to 
allow  direct  sunlight  to  fall  upon  the  lens. 


What  is  called  the  focus  of  a lens  may  be  stated  in  general 
terms  as  the  distance  between  the  back  lens  and  the  ground 
glass  when  adjusted  sharply  for  a distant  object.  In  com- 
paring the  working  of  different  lenses,  it  is  always  necessary  to 
know  the  comparative  size  of  the  opening  by  which  the 
picture  was  made.  This  is  given  in  terms  of  the  focal  distance 
— thus  a picture  taken  with  a diaphragm  or  opening  w'hose 
diameter  is  one-twentieth  part  of  the  focal  length  is  described 
as  /0,  and  so  for  other  openings. 

Beginners,  in  taking  well-lit  landscapes,  are  apt  to  over- 
expose ; in  taking  dark  interiors  to  under-expose. 

Note. — The  plates  when  placed  in  the  shield  should  be 
carefully  dusted  by  means  of  a camebs-hair  blender,  which 
should  never  be  allowed  to  touch  the  hand  or  any  other 
surface  but  that  of  the  plate. 

Stereoscopic  Pictures . 

Negatives  for  stereoscopic  pictures  are  generally  made  with 
the  camera  prepared  for  a 5 x 8 plate,  and  fitted  with  two  lenses 
of  equal  focal  length.  They  can  be  made,  however,  with  the 
4 x 5 or  3/^  x 4/^  inch  plate  by  taking  two  successive  pictures 
of  the  same  scene  or  object — the  only  precaution  necessary 


STEREOSCOPIC  PICTURES. 


79 


being  to  secure  the  two  pictures  from  two  points  a little  re- 
moved from  each  other.  This  distance  may  vary  from  three 
inches  to  as  many  feet,  but  .ordinarily  from  three  to  four  inches 
is  sufficient.  In  taking  these  two  pictures  the  same  object 
should  be  brought  into  the  exact  center  of  the  plate. 

Alter  printing,  the  stereoscopic  picture  must  be  properly 
cut  for  mounting.  Each  half  of  it  should  be  about  two 
and  three-quarter  inches  horizontally  by  three  vertically. 
Glass  forms  of  the  exact  size  can  be  obtained  which,  when 
properly  applied  to  the  print,  will  determine  the  outlines  of 
the  picture.  To  do  this,  proceed  as  follows  : 

First  select  the  same  point  in  each  half  of  the  print  which 
shall  be  considered  its  centre  ; from  this  point  in  the  right 
hand  picture  measure  to  the  right  one  and  a quarter  inches, 
and  make  a mark  ; through  this  mark  draw  a vertical  line, 
which  determines  the  boundary  of  your  picture  on  the  right 
hand  of  the  centre.  Do  the  same  on  the  other  picture,  only 
measuring  one  and  a quarter  inches  to  the  left,  and  mark  it ; 
through  this  point  draw  a line  parallel  to  the  vertical  line  al- 
ready fixed  on  the  right  side — this  will  form  the  boundary  of 
the  left  hand  side  of  the  print.  Now  select  some  point  near 
the  bottom  of  the  print  ; place  the  cutting  form  with  one  side 
upon  the  vertical  line,  and  the  bottom  of  the  form  passing 
through  this  latter  point ; the  form  now  is  in  position  to  be 
used  for  cutting  out  one-half  of  the  picture.  Having  cut 
around  this  with  a sharp  knife,  move  the  form  to  the  other 
half  of  the  print,  one  side  being  laid  upon  the  vertical  line  on 
that  side,  and  the  bottom  of  the  form  being  adjusted  so  as  to 
pass  through  the  same  point  near  the  bottom  of  the  print;  as 


8o 


HOW  TO  MAKE  PHOTOGRAPHS. 


before;  now  cut  out  this  half,  and  you  will  have  the  two 
halves  of  the  stereoscopic  picture  in  a shape  to  mount. 

In  mounting,  place  the  half  of  the  print  which  was  origin- 
ally upon  the  right  hand  to  the  left,  and  vice  versa,  bring- 
ing the  edges  together  and  the  bottom  lines  coincident.  To 
be  sure  of  always  mounting  the  prints  properly,  always  mark 
the  back  of  one  of  the  halves  so  as  to  indicate  whether  it  is  to 
be  placed  on  the  right  or  left  hand  when  mounted.  This  is 
the  proper  way  to  proceed,  if  the  camera  should  not  have 
been  perfectly  level.  If,  however,  the  instrument  had  been 
level  when  the  negative  was  taken,  a line  drawn  across  the 
entire  print  between  two  similar  points  can  be  used  as  a base 
line,  and  the  forms  can  be  placed  upon  that,  the  vertical 
sides  passing  through  the  points  decided  on  as  the  right  and 
left  boundaries  of  the  picture. 

It  is  a bad  plan  to  scratch  lines  upon  the  negative,  as  they 
prevent  it  from  being  used  for  any  other  purpose  than  mak- 
ing stereoscopic  prints.  In  making  transparencies,  frequent- 
ly one  desires  to  get  the  entire  half  of  a 5 x 8 negative,  so 
as  to  show  in  the  lantern  ; to  do  this  the  negative  must  be 
copied  down  in  the  camera,  and  any  lines  upon  the  negative 
would  then  show.  Sometimes  it  may  be  desired  to  make 
single  prints,  mounted  on  cardboard  with  a margin  all  around ; 
in  such  case  the  size  of  the  print  would  be  limited  by  any 
scratch  that  might  be  On  the  negative. 

In  developing  the  negatives  made  by  the  small  camera,  both 
should  be  developed  at  the  same  time,  in  order  to  have  them 
equal  in  printing  quality. 

A correctly  timed  plate  always  yields  the  finest  results,  but 


STEREOSCOPIC  PICTURES. 


8 


by  following  the  instructions  given  below  a considerable  lati- 
tude in  the  exposure  may  be  secured.  Thus,  supposing  for 
a portrait  in  a moderately  lighted  studio  three  seconds  to  be 
the  proper  exposure,  the  plate  may  be  exposed  five,  or  even 
six  seconds,  and  still  give  an  excellent  printing  negative. 


CHAPTER  VII. 


A Ph oto- mi crograph  i c Camera . 

Believing  that  the  photo-micrographic  camera  may  prove 
to  be  a fruitful  source  of  pleasure  to  the  amateur,  we  have 
taken  the  liberty  of  selecting  the  following  excellent  article 
on  the  subject  by  R.  L.  Maddox;  M.  D.,  one  of  the  distin- 
guished contributors  to  the  British  Journal  Almanac  for  1883: 
I am  occasionally  asked  to  afford  information  on  the  ar- 
rangement I usually  employ  in  photo-micrography.  The 
figure  will  supply  a general  idea  to  the  ordinary'  reader,  while 


A PHOTO-MICROGRAPHIC  CAMERA.  83 

the  details  are  intended  only  for  those  who  may  want  to 
utilize  their  long  winter  evenings  by  the  pursuit  of  this  branch 
of  photography. 

The  arrangement  usually  employed  consists  of  a stout  base- 
board of  any  suitable  length — five  or  six  feet — supported  on 
three  strong  double  triangle  legs  with  an  extra  brace  at  the 
front  end,  which  supports  a heavy  microscope,  the  foot-board 
of  which  is  kept  central  by  two  guides  fixed  on  the  base-board 
at  that  end.  Upon  the  base-board  is  raised  a smaller  base- 
board, which  supports  the  camera,  and  on  which  it  can  be 
fixed  by  a pin  at  any  of  the  pierced  half-inch  divisions  for  the 
purpose  of  solidity  and  registration.  The  camera  is  kept 
central  by  two  brass  guides  fixed  to  it,  which  run  easily  along 
the  sides  of  the  top  base-board.  At  the  front  end  the  short 
base-board  is  solidly  fixed,  by  screws  and  a brace  on  each 
side,  to  a stout  upright,  blackened  on  each  side,  of  the  height 
of  the  camera  employed,  and  to  it  is  fastened  the  front  of  the 
bellows.  The  other  end  of  the  bellows  is  attached  to  the 
camera  proper.  The  upright  is  pierced  by  an  aperture  to 
receive  a short  body  tube  of  the  microscope  in  use,  and 
made  light-tight  by  a thick  cloth  collar,  which  slides  on  the 
microscopic  tube.  A short  tube  is  adopted  simply  not  to 
lessen  the  field  too  much  when  the  camera  is  fully  drawn 
out. 

A long  metal  focussing  rod  is  hung  through  an  eye  screw- 
ed beneath  the  upper  base-board  in  the  centre  of  its  length, 
and  works  through  two  apertures  in  the  woodwork,  but  pro- 
jects at  the  front  end,  which  is  provided  with  a pulley.  Over 
the  pulley  is  passed  a silk  braid  band,  which  gears  into  the 


84  HOW  TO  MAKE  PHOTOGRAPHS. 

groove  of  the  head  of  the  fine  adjustment.  The  metal  rod 
runs  easily  through  the  holes,  and  at  the  front  end  readily 
admits  of  the  little  silk  band  being  thrown  into  or  out  of 
gearing.  The  bull's-eye  condenser  is  attached  to  its  ordinary 
rod  and  foot,  and  rests,  with  the  lamp  and  reflector,  upon  a 
stout  table  in  a line  with  the  centre  of  the  camera. 

The  purpose  of  the  second  base-board  is  to  raise  the  cam- 
era to  a more  convenient  height  to  protect  the  focussing  rod, 
and  to  supply  between  it  and  the  base- board  a convenient 
space  for  working  the  focussing  rod  and  resting  diaphragms, 
focussing  glass,  etc.,  etc.  A pierced  diaphragm,  blackened, 
is  placed  between  the  lamp  and  the  bulls  eye,  and  another 
in  the  camera,  a little  in  front  of  the  sensitized  plate,  with  an 
aperture  for  the  shape  and  size  of  the  negative. 

In  use  the  object  is  examined  and  selected  in  the  micro- 
scope in  the  ordinary  way,  using  the  draw  tube  to  bring  it 
to  the  average  length.  The  eye-piece  is  then  removed  , and 
the  draw  tube  closed.  The  camera  stand  is  brought  to  the 
edge  of  the  table,  the  legs  are  spread,  and  the.  base-board 
tried  by  a level.  The  lamp  is  lighted,  the  reflector  is  raised 
to  the  exact  height  required,  the  microscope  foot  is  slid  be- 
tween the  guides,  the  body  tube  is  passed  through  the  aper- 
ture in  the  upright,  and  the  cloth  collar  drawn  up  light-tight. 
The  silk  braid  band,  which  hangs  from  the  fine  adjustment 
head,  is  now  geared  to  the  wooden  pulley  of  the  focussing 
rod.  The  diaphragm,  bull’s  eye,  and  lamp  with  reflector 
are  adjusted,  the  image  of  the  lamp  being  seen  on  the  back 
surfaces  of  the  sub-stage  condenser.  The  camera  is  then 
shut  to  the  distance  which  gives  about  the  same  size  of  image 


A PHOTO-MICROGRAPHIC  CAMERA. 


85 


as  seen  when  examined  previously  by  the  eye-piece.  It  is 
then  drawn  back,  the  eye  being  kept  fixed  on  the  image  on 
the  screen,  and  the  focussing  rod,  or  coarse  adjustment,  used 
•to  correct  the  focus  until  a satisfactory  magnification  is  found. 
With  increase  in  length  it  may  be  necessary  to  use  the  screw 
collar  adjustment  of  the  objective,  as  well  as  to  perfect  the 
focussing  by  the  focussing  rod.  Likewise,  the  range  of  the 
sub  stage  condenser  may  need  alteration  to  obtain  the  most 
satisfactory  illumination.  The  sensitized  plate  being  placed 
in  the  slide,  and  sufficient  time  having  been  given  to  allow 
of  expansion  of  the  cover-glass,  object,  and  slide,  due  to  the 
heating  rays,  the  focus  being  rectified,  if  necessary,  to  meet 
the  change,  the  focussing  scieen  is  removed  and  the  dark 
slide  put  in  position.  A blank  card  is  rested  against  the  sub- 
stage to  shut  off  the  light,  the  shutter  of  the  slide  is  drawn 
up,  a pause  of  a few  seconds  is  made,  the  card  is  snatched 
away,  the  time  noted,  and  the  exposure  given.  The  card  is 
now  replaced,  the  slide  closed  and  removed,  the  glass  screen 
reinserted  and  the  focus  re-examined,  by  which  it  will  be 
seen  if  any  disarrangement  have  occurred,  either  in  position 
or  focus,  as  often  happens  when  the  objects  are  mounted  in 
fluid. 

There  are  several  additional  details  which  I have  found  of 
use  in  endeavoring  to  photograph  such  minute  objects  as 
the  taderia.  The  centre  of  the  upper  plate  of  the  stage 
holds  a blackened  diaphragm  pierced  with  an  aperture,  but 
little  larger  than  the  front  lens  of  the  objective. 

For  condensers  I have  used  an  achromatic  condenser,  a 
non-corrected  large-angle  triple  condenser,  and  a Kelner’s 
eye-piece  with  a cap  pierced  by  a small  aperture. 


66 


HOW  TO  MAKE  PHOTOGRAPHS. 


The  exposure,  with  a large  single-wick  paraffine  lamp  of 
thirty  candles’  power,  and  also  with  double-wick  lamps,  va- 
ries, of  course,  with  the  distances  of  objects  from  the  screen  ; 
but  with  a one-sixteenth  immersion  objective  and  the  so- 
called  “rapid  dry  plates”  four  and  a half  to  nine  minutes 
have  sufficed  for  diameters  from  350  to  nearly  700.  Much 
depends  on  the  mounting  of  the  objects,  especially  if  stained 
by  aniline  brown,  for  a trace  of  this  left  on  the  cover-glass 
considerably  hinders  the  exposure.  Allowance  must  also  be 
made  for  any  deposit  upon  the  chimney  of  the  lamp,  when 
used  for  any  period.  The  objects  themselves  are  often  so 
minute  that  it  is  impossible  to  obtain  at  once  a good  nega- 
tive, and  the  medium  in  which  they  are  found  (which  is 
often  granular  if  dried  upon  the  cover  glass)  sadly  interferes 
with  the  most  perfect  definition,  especially  under  such  weak 
light.  Dr.  Koch,  who  has  been  most  successful  in  photo- 
graphing the  bacteria , rejected  dry  plates,  and  used  sunlight 
reflected  from  a heliostat  and  wet  collodion.  He  obtained 
a photograph  of  that  most  minute  filament,  the  flagellum  of 
the  bacteria  rod \ I have  lately  with  the  foregoing  arrange- 

ment succeeded  in  photographing  the  uniting  thread  of  two 
rods,  which  on  separation  becomes  the  flagellum  for  each. 

The  photographing  of  large  objects  is  comparatively  easy 
work.  The  foregoing  is  not  put  forward  as  the  best  plan, 
but  as  a convenient  and  ready  method  for  use  with  either 
artificial  or  sunlight — in  the  latter  an  “Abraham’s  achro- 
matic prism  ” replacing  the  heliostat.  I ought,  perhaps,  not 
to  omit  stating  that  everything  is  shielded  from  extraneous 
light,  even  up  to  the  edge  of  the  sub-stage,  by  black  velvet, 


amateur’s  kit  for  field  work. 


87 


and  when  using  the  apparatus  in  the  day  time  the  room  is 
darkened  by  a black  curtain  before  the  window.  The  appa- 
ratus is  readily  arranged  for  sunlight  at  a window  with  a 
south-west  aspect. 

I may  state  that  I began  a series  of  experiments  with  a 
small  glass  globe  containing  a solution  of  alum  and  various 
coloring  matters,  to  be  used  instead  of,  or  in  connection 
with,  the  bull’s  eye ; but  they  are  as  yet  too  incomplete  ror 
anything  more  than  this  brief  notice. 


Amateur’s  Kit  for  Field  Work. 


Camera  and  plate  shields. 
Lenses  and  diaphragms. 
Tripod  top  and  legs. 
Tripod  screw. 

Instantaneous  drop  shutter. 
Focussing  cloth. 

Four  dishes,  according  to 
size  of  plate. 

(Eastman’s)  dry  plates. 
Oxalate  of  potash. 

Bromide  of  potassium. 
Anthony’s  alkaline  solu- 
tion. 

Common  alum. 

Weights  and  scales. 


Memorandum  book  and 
pencil. 

Some  ruby  paper. 

A few  clean  pint  bottles 
and  corks. 

Ruby  lamp. 

Two  four  ounce  graduates. 
One  minim  graduate. 

Two  half  pint  funnels. 
Anthony’s  pure  sulphate  of 
iron. 

Pyrogallic  acid. 
Hyposulphite  of  soda. 
Strong  liquid  ammonia. 
Dusting  brush. 


88 


HOW  TO  MAKE  PHOTOGRAPHS. 


Plate  rack  and  stock  de- 
veloping bottle. 

Gum  royal  and  brush. 
Bicarbonate  of  soda. 

Gold,  etc.,  for  toning. 
Blue  paper. 

Ready  sensitized  albumen 
paper. 

Oxalic  acid. 

Acetate  of  lead. 

Alcohol. 

Bottle  of  anti-frill. 


Negative  varnish. 

Clothes  clips. 

Cardboard  for  mounting. 
Negative  box  or  envelopes. 
Printing-frames. 

Rapid  printing  paDer. 
Filtering  cotton. 

Citric  acid. 

Blue  litmus  paper. 
Bichloride  of  mercury. 

One  or  two  small  packing 
cises  for  extra  chemicals. 


Weights  and  Measures. 

apothecaries’  weight. 


SOLID  MEASURE. 

20 

grains 

= 

i scruple 

= 20 

grains. 

3 

scruples 

= 

i dram 

= 60 

< i 

8 

drams 

= 

i ounce 

= 480 

a 

12 

ounces 

= 

i pound 

= 576° 

u 

FLUID. 

Symbol. 

6o 

minims 

= 

i fluid  dram  f.  3 

8 

drams 

= 

1 ounce 

f. 

20 

ounces 

= 

1 pint 

0 1 

8 

pints 

= 

1 gallon 

gall. 

The  above  weights  are  those  usually  adopted  in  formulae. 
All  chemicals  are  usually  sold  by 


AVOIRDUPOIS  WEIGHT. 


89 


27H  grains 

= 1 dram  = 27H  grains. 

16  drams 

= 1 ounce  = 437^2  “ 

16  ounces 

= 1 pound  = 7000  “ 

Precious  metals 

are  usually  sold  by 

TROY  WEIGHT. 

24  grains  = 1 pennyweight  = 24  grains. 

20  pennyweights  = 1 ounce  = 480  “ 

12  ounces  = 1 pound  = 5760  “■ 

Note. — An  ounce  of  metallic  silver  contains  480  grains,  but 
an  ounce  of  nitrate  of  silver  contains  only  437^  grains. 

French  Fluid  Measures . 

The  cubic  centimetre  usually  represented  by  “c.  c.”  is  the 
unit  of  the  French  measurement  for  liquids.  It  contains 
nearly  seventeen  minims  of  water ; in  reality,  it  contains 
16-896  minims.  The  weight  of  this  quantity  of  water  is  one 
gram.  Hence  it  will  be  seen  that  the  cubic  centimetre  and 
the  gram  bear  to  each  other  the  same  relation  as  our  dram 
for  solids  and  the  dram  for  fluids,  or  as  the  minim  and  the 
grain.  The  following  table  will  prove  to  be  sufficiently  ac- 
curate for  photographic  purposes  : 

1 c.  c.  = 17  minims  (as  near  as  possible). 

2 “ = 34 

3 “ = 5i 

4 " = 68 

5 “ = 85 

6 “ = 102 


ii 
< i 

“ or  i dram  8 minims. 
“ “ 1 “ 25  “ 

“ “ 1 “ 42  “ 


9o 


HOW  TO  MAKE  PHOTOGRAPHS. 


7 

c.  c. 

= 

1 19 

min., 

or 

1 

dram 

59  minims. 

8 

( ( 

= 

136 

i t 

1 1 

2 

i i 

16 

( C 

9 

i i 

= 

153 

1 1 

1 1 

2 

i ( 

33 

i i 

10 

C ( 

= 

170 

i t 

a 

2 

i i 

5° 

i i 

20 

l i 

= 

340 

1 1 

1 1 

5 

i t 

40 

i i 

30 

s ( 

= 

510 

i i 

1 1 

1 ounce 

0 dram  30  minims. 

40 

“ 

= 

680 

6 t 

1 1 

1 

i < 

3 <r 

20 

i i 

50 

i t 

= 

00 

0 

i i 

1 1 

1 

i i 

6 “ 

IO 

( C 

60 

i i 

= 

1020 

i i 

t % 

2 

( i 

1 “ 

0 

i t 

70 

( c 

= 

1 190 

i ( 

1 1 

2 

( ( 

3 “ 

5° 

( C 

80 

it 

= 

1360 

( i 

1 1 

2 

i i 

6 “ 

40 

( i 

90 

i i 

= 

I53° 

( t 

1 1 

3 

i i 

1 “ 

30 

it 

100 

( ( 

= 

1700 

it 

i ( 

3 

i i 

4 “ 

20 

it 

Conversion  of  French  into  English  Weight • 

Although  a gram  is  equal  to  15*4346  grains,  the  decimal 
is  one  which  can  never  be  used  by  photographers ; hence  in 
the  following  table  it  is  assumed  to  be  15*  grains,  which  is 
the  nearest  approach  that  can  be  made  to  practical  accu- 
racy : 


1 gram 

= 

1 5!  grains. 

2 grams 

= 

Set-  “ 

3 “ 

= 

46! 

4 “ 

= 

6 I 6 “ . 

5 

= 

77  “ • 

6 “ 

= 

92!  *‘  . 

7 “ 

= 

107*  “ . 

or  1 dram  if  grain. 

“ 1 “ 17  grains. 

32*  “ 

47^ 


1 


CONVERSION  OF  FRENCH  INTO  ENGLISH  WEIGHTS.  9 1 


8 grams 

= 

1 23^  grains 

or 

2 

drams  36 

grains. 

9 

( 4 

= 

13?? 

4 4 

4 4 

2 

“ 18* 

4 4 

IO 

i ( 

= 

1 54 

4 4 

4 4 

2 

“ 34 

4 4 

1 1 

4 4 

= 

169! 

4 4 

4 4 

2 

“ 49* 

4 4 

12 

44 

= 

'Ho 

r^r 

00 

. 

44 

3 

“ 4 i 

4 4 

*3 

i 4 

= 

200 a 

4 4 

4 4 

3 

“ 20i 

4 4 

14 

a 

= 

2155 

4 4 

3 

“ 35® 

4 4 

4 4 

= 

23  I 

4 4 

4 4 

3 

“ 5i 

4 4 

16 

4 4 

= 

246! 

4 ' 

44 

4 

“ 6t 

17 

4 4 

= 

26  1$ 

4 4 

44 

4 

“ 2Ia 

“ 

18 

4 4 

= 

277* 

4 4 

44 

4 

< < ,rrl 

3/6 

4 4 

l9 

4 • 

= 

292I 

44 

4 

“ 52! 

20 

4 6 

= 

308 

44  * 

44 

5 

“ 8 

“ 

30 

4 4 

= 

462 

4 4 

4 4 

7 

“ 42 

4 4 

40 

4 4 

= 

6l6 

4 4 

4 4 

10 

“ 16 

“ 

50 

4 4 

= 

77  0 

4 i 

4 4 

12 

“ 50 

4 4 

60 

4 4 

= 

924 

4 4 

4 4 

15 

“ 24 

4 4 

70 

“ 

= 

1078 

44 

4 4 

17 

“ 58 

4 4 

80 

4 4 

= 

1232 

C* 

“ 

20 

“ 32 

4 4 

90 

= 

1386 

44 

“ 

23 

“ 6 

4 4 

100 

4 4 

= 

1540 

4 4 

4 4 

25 

“ 40 

4 4 

V 


Taken  by  a Lady  with  Anthony’s 


•^neradmbg;  jne^nuiv  j'Biioa:  UQJ, 


IF  you  have  not  already  received  a copy  of  my 
new  price-list  for  Photo.  Stock,  Artists’  Materi- 
als, Amateur  and  G-allery  Outfits,  please  write  for 
it  at  once.  It  will  interest  Photographers,  Crayon 
Artists,  'Water  Color  Artists,  Workers  in  Pastel 
Crayons  and  Amateurs. 

W.  R.  REID, 

Manufacturer,  Importer  and  lotto  of  Fine  Art  Goods  of  all  lauds. 

352  & 354  ( New  No.)  Euclid  A ve. , CLEVELAND , O. 

4 TEXAS  HEADQUARTERS!  PHOTOGRAPHIC  SUPPLIES# 

BIjESBinxrGr  c is  BRO., 

170  Tremont  St.,  1 GALVESTON,  TEXAS. 

CAMERA  BOXES  AND  LENSES  OF  ALL  KINDS. 

Pure  Chemicals,  Fresh  Papers,  Card  Stock,  Albums,  Frames,  Mouldings, 
stated  avt&  Sfatc  0-utfita.  at  tfie  fovucst  prices. 

Send/or  Illustrated  Catalogue  and  Price-Lists. 


H.  Lieber.  * ESTABLISHED  1854.  |g Chas.  Koehne. 

H.  LIEBER  & CO’S 


-o|j  ART  DE3M:i*ODFtIXJ23WX-  j§p 

HEADQUARTERS  FOR 

§fhotogmyliic  ^dfarnh  nnd  dll  ^lypurdtux. 

^mateur  Plate  JDutfits. 

— Send  for  Catalogue. — 

32  E.  Washington  St.,  INDIANAPOLIS,  IND. 


■ZHZQITy:  ‘OLXO^JLCEICE 


‘•■is  craistHvn  isva  91  ??  pi 


auvsauoHAA 


‘soaa  Nanv 


R.  & J.  BECK, 


fminffacturing  (R^ticum, 


1016  Chestnut  St.,  PHILADELPHIA,  PA. 

Photographic  Outfits  and  all  Accessories  for  Amateurs  by  E.  & If.  T. 
Anthony  & Co.,  American  Optical  Co.,  Jilair  Tourograph 
Co.,  W.  II.  Walker  & Co.,  at  makers’  prices. 

Direct  importers  of  Lenses  by  Ross,  Dallmeyer,  Darlot  and  our  own  London  House. 
Microscopes  and  all  Accessories. 

Illustrated  Price-List  ma  led  Free. 


Complete  Instruction  in  Dry  Plate  Photography,  Free  to  those  who  purchase  Oulfits. 


Mints  in  all  Rsiiuisites  pertaining  to  tue  ART-SCIENCE  OF  PHOTOGRAPHY, 


Photographers'  Booksel'ers,  Stationers  and  News  Dealers. 

229  & 231  State  Street, 


Gayton  A.  Douglass. 
Henky  G.  Thompson. 


CHICAGO,  ILL. 

— Send  for  Our  Catalogues. — 


GEO.  R.  ANGELL, 

tycataz  in 


ALL  KINDS  OF  MATERIALS  FOR  MAKING 


Send  for  Catalogue.- 

158  Woodward  Ave., 


DETROIT,  MICH. 


—k  MOUND  CITY  PHOTO . STOCK  HOI  SE.  *w* — 

H.  A.  HYATT,  Proprietor, 


DEALER  IN 


-M- 


lioto . Materials , 


Picture  Frames,  Mouldings,  and  Picture  Goods  Generally. 


HEADQUARTERS  FOR  THE  WEST. 

411  North  4th  St.,  ST.  LOUIS,  MO. 

Send  for  our  Illustrated  Photographic  and  Frame  Catalogues. 


Douglass,  Thompson  & Co., 

229  & 231  STATE  STREET, 


Gayton  A.  Douglass. 
Henry  G.  Thompson. 


Chicago. 


MercMnts  in  all  Repisites  pertaining  to  tie  Art-Science  of  Ploiograply. 

Photographers’  Booksellers,  Stationers,  Publishers 
and  Newsdealers. 


JnYITE  you  TO  jSEND  FOl^THEII^ 

Descriptive  Illustrated  Price- 
List  of  Photographic  Requisites 
for  Amateurs,  and 


FREE  TO  ALL. 


OUTFITS  FOE  DRY  PLATE  PHOTOGRAPHY, 

From  $10  00  upwards. 


<|wote^ctiovi s cjvtxm  to  fzea 


of 


We  deal  in  nothing  but  Photographic  Supplies, 
and  our  facilities  for  serving  both  the  Professional 
and  Amateur  are  unequalled. 

TRY  US. 


DAVID  TUCKER  & CO., 


DEALERS  IN 

oil 


1 gxwg  gr*m**, 

ALBUMS,  STEREOSCOPES, 

PICTURE  FRAMES,  MOULDINGS,  ETC. 

410  & 412  MAIN  STREET, 

David  Tucker.  ) 

S.  B.  Butts.  ) 


BUFFALO,  N.  Y 


J.  IT.  McDOMALD, 


DEALERS  IN 


— A FULL  LINE  OF — 


J|woteuu  fit 


520  & 522  Broadway, 


ALBANY,  N.  Y. 


WILSON,  HOOD  & CO., 


HAVE  ALWAYS  IN  STOCK 


in  it  ml  %ffet  ft  kite  Outfits, 


AND  ALL  MATERIALS  NEEDED. 


INSTRUCTIONS  GIVEN.  PLATES  DEVELOPED. 

DARK  ROOM  FOR  USE  OF  OUR  CUSTOMERS. 

No.  825  ARCH  STREET , PHILADELPHIA. 


Price-Lists  Furnished  Free. 


Eastman’s  Dry  Plates. 


SPECIAL 

TROPICAL 

SPECIAL 

TROPICAL 

SPECIAL 

TROPICAL 

SPECIAL 

TROPICAL 


( The  softest,  most  sensitive,  and  there- 
\ fore  the  quickest  Dry  Plate  made. 

( The  ONLY  ones  that  can  be  success- 
\ fully  used  in  any  climate. 

( More  perfectly  made  than  any  inihe 
( market. 

j Can  always  be  used,  even  in  the  hot- 
( test  weather. 

j The  only  ones  of  uniform  size  and 
( thickness,  and  also  rectangular. 

(They  never  frill  or  run  off  the  glass 
( under  any  circumstances. 

(Just  the  thing  for  portraits  and  all 
( kinds  of  instantaneous  work. 

( The  only  ones  that  can  be  used  in 
( summer  without  ice  or  alum, 


$Soi/i<f)  8$8f( 

iX  MIX®,  of{  m®Y 

Si<i<  iX  V®iX- 


a~  SEND  FOR  PRICES  OF  THEM. 

A Copy  of  How  To  Take  Photographs,  A Manual  for  Amateurs. 

Heavy  toned  paper,  in  paper  cover  50  cents;  cloth,  75  cents. 



E.  & H.  T.  Anthony  & Co. 
59/  Broadway  ($Zfokte, ) New  York . 


CARBUTT’S  KEYSTONE  DRY  PLATES. 


Amateurs  and  professional  photographers  will  find  the  Keystone  B plate  to  possess 
superior  qualities  for  outdoor  views,  while  our  New  Special  will  enable  them  to  ob- 
tain instantaneous  effects,  even  with  the  single  view  lens,  with  wonderful  perfection; 
and  after  getting  your  negatives,  our  A Plates  will  enable  you  to  make  from  them  trans- 
parencies for  the  lantern  or  framing.  Circular  of  prices  sent  on  application. 


CARBUTT’S 


MULTUM  IN  PARVO  LANTERN. 


The  only  Perfect  Dry  Plate 
Lantern.  Nearly  500  sold.  For 
sale  by  all  Dealers  in  photo,  ma- 
terials. Price  $6  00.  Boxed 
ready  for  shipment. 


JOHN  CARBDTT, 
KEYSTONE  DRY  PLATE 


Lantern  arranged  for  developing,  and  after  fixing, 
examining  negatives  by  opal  light. 


MANUFACTURER, 

628  & 630  Chestnut  Street, 

Philadelphia,  Pa 


GKR^ZENTT  &C  BROWN, 

13  Bromfield  Street,  Boston, 

AGENTS  FOR  ALL  THE  POPULAR  MAKES  OF 

Photographic  Outfits  for  Amateurs, 

INCLUDING  OUTFITS  OF  THE 

Scovill  Mamifioturing  Co.,  American  Optical  Co.,  Anthon7’s  Cameras, 
Walker’s  Cameras,  Blair  Tourograph  Outfits. 

With  one  of  our  outfits  you  can  take  pictures  equal  to  the  professional,  of  your  cot- 
tage. yacht,  bits  of  landscape,  pets,  friends,  etc.,  etc.,  and  fill  your  scrap-books  with 
interesting  subjects. 

NO  FUMES  ! NO  STAINS  ! 

DRY  PLATES. 

Messrs.  Grant  & Brown  are  agents  for  the  sale  of  all  the  leading  makes  of  Dry 
Plates  : Eastman’s,  Carbutt’s  Celebrated  Keystone  Plates,  Richardson’s  Diamond 
Plates,  framer  & Norden’s  Dry  Plates,  Blair  Tourograph  and  Tiiumph  Plates  and 
Winter  Plates,  AT  LOWEST  TRICES. 

Al'O  in  stock  : Trays,  Chemicals,  Photographic  Books,  Printing  Frames,  Printing 
Papers,  Ph  tographs,  Dry  Plate  Holders,  Card  Mounts,  and  everything  necessary  for 

the  Amateur. 

l£§F”We  cheerfully  answer  all  questions  and  willingly  exhibit  the  different  outfits  and 
process  of  taking  pictures,  whether  you  wish  to  purchase  or  not.  Please  call  and  ac- 
quaint yourself  of  this  most  charming,  useful  and  wonderful  art. 

CATALOGUES  AND  PRICE-LISTS  FREE. 


SHEEN  & SIMPKINSON, 

Successors  to  Jordan  & Sheen, 

DEALERS  IN 

■jHhoto  graphic  Supplies, 

AMATEUR  OUTFITS  A SPECIALTY. 

I S3  RACE  STREET, 

Near  Fourth  Street,  CINCINNATI,  O. 


SAEGENT  & CO., 

MANUFACTURERS  AND  WHOLESALE 
DEALERS  IN 

Photographic  JItock, 

AMATEUR  OUTFITS  A SPECIALTY. 

PICTURE  FRAMES,  MOULDINGS,  EASELS,  BRACKETS,  MATS,  GLASS,  ETC., 

!>1  Bank  Street,  CLEVELAND,  O. 


W.  D.  GATCHEL  & CO., 

‘TVafezd  iiA. 

^MATEUI^  jOuTFITS  ^ND 

4 PHOTOGRAPHIC  MATERIALS  §o 

OF  EVERY  DESCRIPTION. 

327  West  Jefferson  St.,  LOUISVILLE,  KY. 


PHILIP  PRADO, 

DEALER  IN 


ALL  DRY  PLATE  MATERIALS  CONSTANTLY  ON  HAND. 


Amateur  Outfits  of  every  Description. 

Special  attention  given  to  Amateur  Supplies. 

214  W.  Baltimore  St.,  BALTIMORE,  MD. 


For  Dry  Plate  Developing. 

THE  GLASS  BOTTOM  TRAY. 

It  is  a real  good  thing  and  just  what  we  all  want. 


It  has.  Wood  Walls  with  Chemical  Proof  Lining — has  a Glass  Bot- 
tom and  Trough,  by  which  you  are  enabled  to  Look  Through  your  Neg- 
ative without  taking  it  from  the  Tray — simply  raise  the  end  of  Tray 
opposite — the  Develoyer  runs  into  the  Trough  and  you  look  through  the 
negative  and  bottom  of  Tray.  An  improvement  has  lately  been  made 
that  prevents  the  plate  from  adhering  to  the  Tray  bottom. 


prices:  each. 

5 x 6i  For  3^  x 4^,  4x5  and  4^  x 5^  PLATES,  $1  25 

Sf  x 8f  “ 4i  x 6|,  5 x 7 and  5x8  “ 1 50 

8f  x iof  “ 6£  x 8£  and  8 x 10  “ 1 75 

12  x 15  “ 10  x 12  and  11  x 14  “ 3 50 

15  x 18  “ 14  x 17  “4  00 


MANUFACTURED  AND  FOR  SAhE  BY 

HIRAM  J.  THOMPSON, 

DEALER  IN 

Dry  Plate  Goods  and  Photographic  Supplies. 


84  WABASH  AVE,  CHICAGO. 


ESTABLISHED  IN  1850. 


^olVi  . &C.  lDci  t’l: 

Photographic  Stock  Depot, 


618  & 620  Clay  St, 

«SAN  FRANCISCO,  CAL, 


AMERICAN  OPTICAL  CO'S 

CAMERAS  AND  APPARATUS. 


Mmmm  iiiim 

ALL  BRANDS. 

Everything;  Requisite  for  the  Jfhotographer 
and  Jimatenr. 


PRICE-LISTS  FREE. 


& S.  )I<.  & Co., 

MANUFACTURERS  OF 

AMATEUR 

Photographic  Equipments. 

jjSc'it  Assortment  TufitcA,  and  most  $ rue  tied 
of  ;uw  in  Market. 

SOLE  AGENTS  FOR 

DALLMEYER’S  CELEBRATED  LENSES. 

The  ONLY  0NE8  indorsed  by  ALL  the  Best 
PROFESSIONAL  PHOTOGRAPHERS. 

MANUFACTURERS  OF  THE 

3$.  §L  jStkqdkfd  CLen}idkl$. 

All  our  Photographic  Preparations  are  Universally 
recognized  as  The  Best  of  their  kind  to  be  had . 

Copy  of  How  To  Take  Photographs,  A Manual  for  Amateurs. 
Heavy  toned  paper,  in  paper  cover  50  cents;  cloth,  75  cents. 


Send  for  Circular. 


ANTHONY'S  RAPID  PRINTINR  PAPER. 


